IMAGINARY WORLD

 

IMAGINARY WORLD

BY ANDREA BUZZICHELLI


Andrea Buzzichelli began photographing in the 1990s. Since that time he has worked on numerous photographic projects. Mostly involved in fine art photography, in recent years he has developed a strong interest in professional photography, specializing in fashion and advertising photography. His work has been exhibited in Italy and abroad, in cities including Florence, Milan, London, New York, and Saint Petersburg. He has most recently exhibited as a member of the "collettivo Synapsee" which has created and produced a series of exhibitions on show throughout Italy.

synopsis

The human eye is not capable of taking in an objective reality. It does not see things as they are, for it is subject to the will of a thinking being and to that being's emotional state. “We don’t see things as they are, we see things as we are”. - Anais Nin The human eye is not capable of taking in an objective reality. It does not see things as they are, for it is subject to the will of a thinking being and to that being's emotional state. For this reason, every human view of the world is only partial and is in some way skewed. I utilize photography in an effort to go beyond, or at least involve the "deluded" viewer in an attempt to arrive at a single reality. It is a sort of game of comparison with a truth which is not necessarily deeper, but certainly "other." There is always something which escapes one's view and our sense of certainty decreases the longer we fix our gaze; we are amazed as an almost entire parallel world becomes manifest. The choice is our whether to consider it imaginary, or, on the contrary, to hold it as all the more real. 

Editor´s note

The presented project was selected from a spontaneous submission made by Andrea Buzzichelli. Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

GUARDAR O FOGO PARA DIAS DE POUCA LUZ

 
 

GUARDAR O FOGO PARA DIAS DE POUCA LUZ

POR MARIA OLIVEIRA

RECENÇÃO CRÍTICA

O projeto fotográfico “Guardar o fogo para dias de pouca luz” de Maria Oliveira é um trabalho que, pela forma como explora os aspetos estéticos e expressivos da imagem, introduzem um “outro espaço” entre o que é a representação realista do objeto (o seu valor de índice) e a representação de subjetividade da autora.

O trabalho de Maria Oliveira aproxima-se deste modo de uma certa fotografia documental contemporânea, mas que ainda mantêm uma ligação considerável às correntes modernistas de meados do século XX e interpela-nos de forma significativa a vários níveis. Pela mestria e poesia com que trabalha a luz e a palete monocromática a autora revela o seu domínio técnico e como foi influenciada pelos modernos que trabalhavam os aspetos técnicos da linguagem fotográfica como expressão plástica: a fotografia como um signo capaz de dar resposta a diversos discursos e propósitos. Por outro lado, possui características que o aproximam da fotografia contemporânea que explora com uma maior liberdade, não só os aspetos conceptuais - a ideia como atributo mais importante da imagem - como também os aspetos estéticos, ambos mais libertos da obrigação da representação realista do objeto. Atentem assim para a importância da ideia nuclear do projeto de Maria Oliveira que explora a analogia entre “guardar o fogo” e o “arquétipo de mãe” e observem também, por exemplo,  como nas fotografias 1,2 e 10 estas trazem uma sensação de estranheza ao espectador devido à composição das imagens e da forma como os elementos e corpos são retratados que introduzem uma fratura na lógica de reconhecimento tradicional dos lugares relacionais. Por outro lado, a construção das imagens nas fotografias 15 e 17 também denotam um “outro olhar” mais contemporâneo porque são composições que fazem com que a pessoa seja simultaneamente percecionada como uma extensão e como um elemento exterior à paisagem.

Maria Oliveira é uma autora que já participou em diversas residências artísticas, tem exposições individuais e coletivas e possui no seu curriculum já diversos prémios, estando representada na coleção do MAR-Museu de Arte do Rio.

Pedro Leão Neto

Fevereiro de 2018

RESUMO

O projecto centra-se no arquétipo de mãe. Partindo da minha referência mais próxima, exploro gestos, posturas e características comuns a um tempo e lugar. Guardar o fogo para dias de pouca luz compreende também o conceito de mãe como elemento, mãe-terra e mãe-natureza.

BIOGRAFIA

Nasceu em Ponte de Lima (1982) e reside, actualmente, no Porto.  Entre 2016 e 2017 foi artista residente da Ci.clo - Plataforma de Fotografia, onde desenvolveu o projecto ‘Guardar o fogo para dias de pouca luz’, que integrou a exposição coletiva itinerante, patente em vários locais em Portugal e no estrangeiro. Em 2017, expôs no Colégio das Artes, em Coimbra, o trabalho ‘Sedimento’ e participou na exposição Atlántica Colectivas do Festival Fotonoviembre, em Tenerife. O projecto ‘sob vigia dos animais antigos’ foi exposto no FotoRio (Rio de Janeiro), Festival Outono Fotográfico (Ourense), Galeria More Than A Gallery (Paris). Participou nas publicações A Process, Der Greif Magazine (Alemanha), Cadernos de Imagens, Cineclube de Guimarães e Revista Golpe D’Asa e em diversas plataformas online. Foi selecionada para a Leitura de Portfolios da PhotoEspaña (PHE) em 2016, vencedora do Festival Audiovisual Black & White, em 2015 e 2007 e do Concurso Portugalidades, em 2012.  Integra a colecção do MAR-Museu de Arte do Rio.

mariaoliveira.fotografia@gmail.com

 

GOODBYE PYONGYANG

 

GOODBYE PYONGYANG

BY PAULO SIMÃO



Cartaxo, 1973. Reside em Lisboa.
Licenciatura em Publicidade pelo IADE; Designer gráfico; Finalista do Curso Avançado de Fotografia do Ar.Co.

Exposições/Projecções:
Selecionado para os “Discovery Awards” dos Encontros da Imagem de Braga de 2016, participa em setembro na sessão de projeções com o projeto “Prozac”. Selecionado para os “Discovery Awards” dos Encontros da Imagem de Braga de 2015, participa em setembro na sessão de projeções com o projeto “Goodbye Pyongyang”.
Em abril de 2015, participa na exposição coletiva A Revolução Está na Rua no âmbito das Comemorações do 25 de Abril de 2015 do Arquivo Municipal Fotográfico de Lisboa.
Em setembro de 2014, participa na exposição The Polaroid Show com o projeto In Abandoned na Doomed Gallery no âmbito da Semana da Fotográfica Analógica de Londres.
Em 2012, participa com a instalação fotográfica CasaNostra – Os Sete Pecados Capitais, na exposição coletiva Polaroid Park na Fábrica Braço de Prata, exposição itinerante que, entretanto, esteve patente no Barreiro, Beja e Évora.




Synopsis



Este projeto retrata uma viagem fictícia por um dos países mais isolados do mundo, pela sua estética e estratégias de propaganda (de onde se destaca o culto da personalidade), para refletir sobre o outro lado, o nosso lado, o do mundo globalizado, altamente mediático, do poder, da ilusão, da manipulação e da acção das imagens, dos seus limites e das suas finalidades.
Aqui, tal como num regime totalitário, tudo é controlado, agora, tal como no mundo mediático, tudo é controlado. As imagens deste projeto foram realizadas entre 2014 e 2014 em Portugal, Espanha e Holanda.

Imagens realizadas em formato digital. Recurso a fotomontagem na produção de algumas imagens.

Máquina: Fuji XE1, XE2 e XPro 1
As imagens selecionadas são uma parte das 32 imagens que constituem o corpo de trabalho deste projeto.


Todos os objetos são originais e foram, na sua grande maioria, adquiridos com recurso a meios globais como o ebay.

www.paulosimao.pt

 

ERRANTE

 

ERRANTE

BY MARIA JOÃO FERREIRA 

Em “errante” reúne-se um conjunto de imagens que derivam de um arquivo fotográfico pessoal. Fotografias revisitadas, na procura de pistas, como auxilio à memoria, de um caminho percorrido. A relação entre memória e o medium fotográfico, forma um novo discurso, através da deformação do próprio medium. As deturpações da memória criam novas regras para a apresentação das imagens. A sugestão narrativa forma-se através da imaginação, sobrepondo-se ao lembrar involuntário. Cria-se uma identidade, uma personagem, que vagueia entre momentos que se confundem com imagens alucinatórias. A mutabilidade dos espaços, dos objetos e das pessoas que surgem, apelam à vulnerabilidade das recordações. Mas desta fragilidade, nasce uma sensibilidade para a observação dos fragmentos.

Sobre o autor 
Maria João Ferreira nasceu em Portugal em 1994. Artista visual cujo trabalho se desenvolve em torno da imagem, envolvendo e explorando o medium da pintura, da fotografa, da impressão e do desenho; reflectidos através da construção de instalações. Licenciada em Pintura pela Faculdade de Belas Artes Da Universidade do Porto, onde frequenta actualmente o Mestrado de Design da Imagem. Vive e trabalha no Porto.

Fotografa analógica (2010 / 2017) manipuladas no processo de digitalização.

email

 

EPIFANEIA

 

EPIFANEIA

BY MARIA BOURBOU

 

Maria Bourbou was born in 1971 in Athens, where she grew up. After that, she studied photography at the private photography school Dimitrios Hliveros, in 1998. In 1999, she participated in a seminar by Nikos Oikonomopoulos (Magnum Agency), provided by the Hellenic American Union, under she subject “Objective and subjective truth in photography”. Three years after, at the same place, she took part in other seminar by Jerry Schatzberg (photographer/film director), under the sibject “Photography-Relations to cinema”.
In 2015, she went to a workshop with Jem Southam in Lisbon, at Atelier de Lisboa.
She moved to Luxembourg in 2006, and in 2012, she moved back to Lisbon.
 

synopsis

Burning from the disruption,
you shake every structure
Exactly...
the eyes embrace the bear truth,
mine, before you.
Abruptly I mould myself in the drought,
alone...
dismayed by the solid beauty.

 

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

EST-CE QUE

 

EST-CE QUE

POR JOSÉ MANUEL SOARES

José Manuel Soares nasceu no Porto em 1964. É fotógrafo e professor. De 1993 a 1995 leccionou a disciplina de Tecnologia da Comunicação Educativa na Faculdade de Ciências da Educação do Porto e, de 2006 a 2013, é professor de fotografia na EB2/3 de Valongo.
O seu trabalho já foi publicado em várias revistas e jornais a nível nacional, como “O Primeiro de Janeiro”, “Em Foco”, “Tal&Qual”, “Jornal de Notícias”, “Diário de Notícias”, “O Jogo”, “Blitz”, “A Página”, e também a nível internacional, como “Réponses Photo”, “Photo”, “Pois”, Blickpunkt”.
O seu trabalho foi também publicado em vários livros, bem como é notória, também, a sua participação na ilustração gráfica de livros.
Para além disso, já deu várias conferências na área da disciplina da Fotografia, e já participou, também, em muitas exposições a título individual e colectivas.


synopsis

As fotografias da série “Est-ce que” não estão relacionadas entre si.
Cada fotografia fica como uma unidade narrativa, colada apenas a pequenas semelhanças formais que se podem adivinhar na totalidade do projecto.
No olhar assumido, na encenação de alguns personagens, no cenário, na codificação de olhares entre o fotógrafo e o fotografado existem segundos (em alguns casos) ou vidas inteiras (na maioria) que podem ser reinventadas através do exercício simples de olhar e deixar que cada imagem se acomode no imaginário, se constitua como um legado pessoal de quem vê e não uma atitude directiva do autor. 
Ficaria completamente satisfeito se estas imagens roubadas ou inventadas num contexto de realidade, fossem, dentro da cabeça de quem as vê, uma escada para lugares, desejos, fragâncias ou até soturnas e ridículas analogias.
No meu enquadramento há uma constante flutuação de pensamentos, embora sempre reinventados a partir do meu passado. Por entre as imagens descubro curiosas influências. Parece lógico que assim seja. Inevitável que assim se analise.
Formulo a hipótese que me leva a usar a fotografia como aconchego para o pensamento: em cada novo olhar uma nova verdade aparece, essa verdade será recondicionada ou alterada na edição.
Sinto-me confortável com este registo cheio de pequenos maneirismos e seduções.
“Est-ce que” confirma esta vontade de voltar à fotografia tal como a conheço. Fica, neste projecto, um conjunto de histórias marcadas por um ritmo aleatório, com um som afrancesado de fundo e uma leve luz de Paris.

editor's note

The presented project was selected from a spontaneous submission made by José Manuel Soares.

 

COLEÇÃO (I)

 

COLEÇÃO (I)

BY CILLAS SEYDE

Cillas Seyde (1988) é uma artista visual que vive e trabalha em A Coruña, Espanha. Licenciou-se em Belas Artes pela Universidade de Vigo em 2011 e em 2014 acaba o Mestrado em Práticas Artísticas Contemporâneas pela Universidade do Porto. Ao longo do seu precurso artístico paticipou em várias exposições colectivas e individuais tanto no Porto como em outras cidades europeias: “Hidden in the center” (Bruxelas, 2011), “Traza urbana” (A Corunha, 2012), “NowHere” (Porto, 2014).


Synopsis
Serie de  slides composta por imagens de diferentes registos lumínicos.
Para esta série estava interessada em “coleccionar” diferentes momentos de luz, onde o papel da luz actua como um elemento que desenha a imagem, que a compõe.


Série de 20 slides a cor, 2014.

 

A FADING LANDSCAPE

 

A FADING LANDSCAPE

BY MARTIN CREGG

Martin Cregg is an Irish photographer and educator living in Dublin. He has exhibited in Ireland and Internationally - recently at 'Illuminations' NUIM, PhotoIreland (2013) Les Rencontres d'Arles (July 2012), the Natural History Museum in Leeuwarden (July 2012) and in Shanghai as part of the 'Postcards from The Celtic Tiger' Group show. Cregg is a member of the international Reflexions Masterclass - presenting work in Basel, Paris, Venice and Lugano in 2010-2011. In 2010 he was one of the Irish nominations for the Prix Pictet. In 2011 his 'Photo Course' project was shortlisted for the FOAM Talent Call. Further in 2012, he is nominated for the Irish Contemporary Award - SHOWCASE at The Gallery of Photography and his ongoing work 'Suspended State' was selected for the FORMAT festival in the UK. Cregg’s work has been published in a variety of magazines and books including ‘Ireland and Photography’ by Dr Justin Carville; ‘Photographies 2002 – 2012’ published by Actes Sud; Magazines such as Source and Irish Arts Review, as well as a list of internationally successful on-line blogs and magazines. His 10 year project 'MIDLANDS' has just been released as a self-published book.

synopsis

‘A Fading Landscape’ is part of an ongoing personal work, which explores my complex relationship to my rural background, a personal sense of heritage and the obligation of tradition connected to the landscape.  Since the early 19th Century, generation after generation of my family have maintained the tradition of farming on this land. The work expresses an uncomfortable balancing act between belonging and disassociation. I find myself longing to connect, or reconnect, to the place or to the landscape. But, the overriding impression is one of departure - an ever-unfolding distance and increasing separation.

 

A FORM OF VIEW

 

A FORM OF VIEW

BY YOAV FRIEDLÄNDER


My Grandfather Kurt fled Austria to Israel immediately after the Kristallnacht, served in the British Brigades during WWII and later in the Israeli Army. After High School I’ve joined the Israeli army myself for a mandatory service as a paratrooper, and became the fourth generation of army soldiers. I grew up in the valleys of the Judean Desert between Jerusalem and the Dead Sea. I am native to Israel but uprooted from my past. I’d got my B.A in photography from Hadassah College Jerusalem (2011), and an MFA from the School of Visual Arts. Selected exhibitions: Belfast Photo Festival (2011); NY Photo Festival (2013) ; Flash Forward (2013) ; Local Testimony – Eretz Israel Museum, Tel Aviv (2013) ; Duesseldorf Photo Weekend (2014) ; International Photography Festival, Israel (2014) ; UNICEF photo Benefit Auction, Aperture Gallery, New York (2014) ; Fresh Paint 7, Tel Aviv (2014) ; Bronx Museum of the Arts Biennial, New York (2015) ; Chinese New Year Festival, Javits Center (The Chief Curator’s Choice Award, 2016)

URL
http://www.yoavfriedlander.com/


Synopsis

My work presents a chaotic perception of an “Americanized Israeli”; composed of American culture, desert landscapes and war. It is based on the recognition that reality is mediated through images as we experience many aspects of our world through photographs and not in person. In this body of work I mix images of Scale models I build with landscapes I photograph. The models are recreations of memories, collective and personal, places I saw only through photographs and other places I could only see in photographs due to restricted access. Like photographs this scale models share an indexical relation to the origin. I make them, and photograph them with the intent that they will echo the realism of the original and bare the illusion of the photograph. While Photographs refer to reality my models refer to the images that represent that reality. Both enable external observation of a reality through its copy.  
At times we find ourselves confused when the real seems to be different from how it should be according to its own image. It seems as if ever since the invention of the photograph, reality has become augmented by its own image.

 

THE THINGS WE CARRY

 

THE THINGS WE CARRY

BY ESTHER RUTH MBABAZI

`The Things We Carry' is a photography project that explores the things people choose to carry with them when leaving their homes behind in times of conflict and war. One cannot walk long distances with heavy items, and so the majority of ones home is left behind – in most cases never to be seen again. In these images I document South Sudanese refugees in Bidi Bidi refugee camp in Yumbe District, Northern Uganda, and asked them what is the most important thing they carried with them on their journey, and what it means to them. Their stories, and the items they choose, are a reminder of the individuality of each refugee, and the weight borne by those forced to abandon their homes.


Portrait of Kideni Mary, 16, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the bible and graduation card she carried with her from South Sudan, on November 2, 2017. 

When asked why these were the items – both gifts from her father – that she chose to carry with her when fleeing South Sudan's ongoing conflict, Kideni said: "My father was a hardworking man, and having evidence of his success encourages me to work hard and achieve mine."

Portrait of Nada Sara, 25, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the cooking pans she carried with her from South Sudan, on November 2, 2017.

When asked why these were the items that she chose to carry with her when fleeing South Sudan's ongoing conflict, Nada said: "It's hard to survive on the road without food. I have young children."

Portrait of Christine Kideni, 7, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the teddy bear she carried with her from South Sudan, on November 2, 2017.

When asked why this was the item – a gift from her parents for her 6th birthday – that she chose to carry with her when fleeing South Sudan's ongoing conflict, Christine said: "Because it is mine."

Portrait of George Thaban, 64, in his home in Uganda's Bidi Bidi, the world's largest refugee camp, and the photos of his wife he carried with him from South Sudan, on November 3, 2017.

When asked why these were the items – photos of his wife on a solar educational trip to India – that he chose to carry with him when fleeing South Sudan's ongoing conflict, George said: "For my wife, going to India was a big achievement in her life. I couldn't leave the memories behind."

Portrait of Mary Sunday, 17, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the bed sheets she carried with her from South Sudan, on November 2, 2017.

When asked why this was the item that she chose to carry with her when fleeing South Sudan's ongoing conflict, Mary said: "Back home, most girls my age design their own bed sheets. This was my first design and the one I love the most."

Portrait of Nema Sunday, 23, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the traditional outfit she carried with her from South Sudan, on November 2, 2017.

When asked why these were the items that she chose to carry with her when fleeing South Sudan's ongoing conflict, Nema said: "I love to dress up nicely, especially on Sundays."

More images of the project  click 


About the author

Esther Ruth Mbabazi is a Ugandan photographer whose work focuses on the social, physical and emotional aspects of daily life, especially in rural areas and amongst minority groups with an interest in Public Health.    Esther is a VII Photo Agency Mentee. In 2017, she was a Magnum Foundation Photography and Social Justice fellow. The year before Esther was selected for the 2016 World Press Photo Masterclass East Africa, and won the inaugural Young Photographer Award presented by the Uganda Press Photo Award. Her work has been published in international publications such as Time Magazine, The New York Times and The Africa Report, and she frequently collaborates with organizations such as Comic Relief, Farm Africa and Let There Be Light International, among others.  Recognized for her nuanced approach to social issues, Esther's work draws on her own experiences to reflect more varied and underrepresented stories from the African continent and beyond.

website : http://www.esthermbabazi.com/

 

CATALOG I - FOUR HANDED

 

CATALOG I - FOUR HANDED

BY ANA PAISANO

Ana Paisano is an architect that uses the photography as a tool in the Architecture process. She studied Architecture in FAUL (Lisbon, Portugal) and she did the last year of Mater’s degree in Tokyo University (Japan) with AUSMIP scholarship. Currently employed at Studio Mumbai Architects and living in Mumbai (India), she engages in parallel research on the architecture/craft interface.


Synopsis

This catalog is an informal study exploring the use of human feet in craft, manual labor and daily life in India. The people photographed have learned to employ their whole body in their labor.
The four-handed people of India have developed unique processes linking thought to production and performance, that most urban  societies seem to have forgotten.
Learning a skill does not happen through verbal teaching but rather by the transference of the skill from the muscles of the teacher directly to the muscles of the apprentice. It is an act of simultaneous perception through the senses and bodily mimesis, or imitation. People learn by doing. The use of feet as hands is an unconscious process. For the people documented in this catalog, feet act as “extra hands” in a natural, instinctive way.
This document is an attempt to re-discover through the ingenuity and resourcefulness of Indian people, what it means for a human to be “four-handed”.

 

ZENITH

 

ZENITH

BY PETER BOBBY

The "Zenith" images are a key part of the overall body of work High-rise and play a central role in extending the visual approach and overall discussion. In its entirety, the project examines the socio-political, architectural and visual discourse surrounding high-rise constructions and the recording of them, using a combination of both interior and exterior still and moving imagery. The project is positioned at the discursive crossroads between art, architecture, photography and subjects relating to the urban built environment.

Shown here, publicly for the first time as a discrete series of images in their own right, rather than interspersed with the interior images and video works that make up High-rise, "Zenith" presents an alternative view of these constructions. Taken from street level, our gaze is directed upwards towards dramatically illuminated building summits, separating these corporate constructions from other forms of high-rise developments. Through their illumination, these buildings quite literally crave our attention and compete for their place as significant structures within the hierarchical visual identity of our contemporary cities. They become demonstrations of corporate and individual power through their outward facing exterior image, which in turn points to the suggested social status associated with occupying such spaces.


"The decision by Bobby to photograph only the very tops of these tall buildings from below, presents them as inadequate beacons set against the dense, inky black void that dominates the picture frame. Importantly, the photographs are printed onto a specially selected heavyweight matte paper that presents the blackness as an absolute absence of light, offering the viewer a highly un-photographic referent. The high-rises in this series become mysterious citadels offering no outward suggestion of their function. They become instead lonely follies in their self-imposed isolation from the practices of everyday life that animates the more complex human activities and encounters of street level."1

1. Liam Devlin, “In sight. In visible. In situ…” in High-rise, Peter Bobby (Cardiff: Ffotogallery, 2015), 90.

 

SOMEONE WAS HERE

 

SOMEONE WAS HERE

BY  VALE & CALVETE

The series "Alguém Esteve Aqui (Someone was here)" portraits the relationship between the Portuguese territory and its inhabitants. Despite the absence of human presence in the photographs, they are felt through gestures and specific intentions left in these places. These are records of a naive ability to organize a portion of the world that belongs to them. Therefore, indirectly, they are creating architecture, presenting others with their spatial honesty, without labeling any forms or methods. The captured photos seek to reveal these anonymous creations.

 

About the author
Ana Rita Vale (Guimarães, 1992) e André Calvete (Figueira da Foz,1991) are the duo of architects Vale & Calvete. Both hold a Master in Architecture in Faculdade de Arquitectura da Universidade do Porto since 2016. Co-founders and curators of the recent event "20x20: Ideias em Confronto (Ideas in Confrontation)" and assistants in other architectural activities. Since 2015, they have developed projects as a team, with some of their works being published in several printed and digital publications, in Portugal and overseas.

 

website

email
 

 

SLEEPING TOWNS

 

SLEEPING TOWNS: BIBIONE AS A NON-PLACE

BY LARA BACCHIEGA

Lara Bachiega was born in Venice in 1989. 
She has a degree in Visual Art and Performing (IUAV University in Venice). Her work has already been shown in some individual and collecttiveexhibitions and published in photography publications.

Synopsis

The project analyzes the concept of non-place. Considering the definition provided by the French anthropologist Marc Augé in 1992 as a starting point, the concept is applied to the contemporary landscape, recognizing in particular the seaside town of Bibione, in the province of Venice, as the appropriate area of research for this investigation. Bibione is considered in the sense of large non-place as a place of transition, frequenting by masses in the summer season while suspended and empty during the winter months, to the point of assuming the aspect of a ghost town. The work highlights some of the features identified by Augé about these particular spaces, as their standardization and uniformity, their anonymity, their being untied from the context they physically occupy and their nature of a not-truly-lived environment: these places are seen just temporarily, without a real awareness.

Editor´s note

The presented project was selected from a spontaneous submission made by Lara Bacchiega. Our aim is to disseminate and bring to light telling work of emergent or young photographers.