Category Archives: Webzine


Nicholas Pollack | Nothing gold can stay

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Nothing gold can stay

Nothing Gold Can Stay is a body of work about the fleetingness of youth. My photographs of the boys of Branch Brook Park in Newark, New Jersey describe this ephemerality, and through these photographs I intend to access a sense of memory and vulnerability to create an experience of love amid life’s chaos and uncertainty.


Sophie Tianxin Chen | I, etcetera

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I, etcetera

To make photographs I have placed a button in my belly button; sandwiched shoes between pairs of socks; and thrown a drowned water bird into a hole. Performance, staging, and a large format camera are the tools I use to create images. In my work I confront significant personal experiences. I turn emotions from the experience into ideas rather than documenting the real event itself. Choosing not to document I instead re­stage scenes by combining reality with artificial props and simulated effects.

Although highly constructed, my practice does not stem from a studio setting, it begins with observations made in the simplest domestic environment. The process of composing the image blurs distinctions between the literal and the metaphorical, allowing me to delight in the absurdity of disorientation.

It often appears to me that when something is forced upon us as solely literal often loses its power to effect. Influenced by films and music, I understand the importance of triggering an affect. I am interested in presenting an image through artifice, which allows me to distance and depersonalize myself from the experience to pursue an allegorical method of revealing.

I, etcetera was made in Los Angeles while becoming an American Citizen. After 10 years of living outside of my original country of birth including 5 years of dealing with the immigration services, I was left in an awkward in­between space of not knowing how to identify myself politically or culturally. Embarrassed often by the vagueness of my understanding to almost everything, I took this ‘lack’ and disorientation as inspiration for making images.


Salvi Danés | Transmontanus

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Transmontanus, the Latin term meaning “beyond the mountains”, is an allusion to the wind coming from the Pyrenees that characterises the Catalan region of the Empordà, not only defining its identity but also bringing change and erosion. Transmontanus is both a journal and a journey back to a landscape we knew as children. The journal describes a rediscovery: going back to that landscape and seeing it from a perspective that time has changed forever, and recognising that neither we nor our landscapes will ever be the same again.


Iacopo Pasqui | 1999

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Since February 2015 and for about a year, Iacopo Pasqui started hanging out with and taking pictures of a bunch of teenagers who were born in 1999. Motivated by curiosity towards contemporary social dynamics and by the need to photograph others, he finds in this bunch of young friends a suitable dimension for his work, given the proximity and the generation gap. In the beginning he starts dictated by the prejudice to find in the lives of Alessio, Chicca, Flavio, Francesco, Irene and Rebecca the reflection of the rotten and fallen contemporary society, but in time the author reconsiders his point of view, finding out in the kids’ lives a more ordinary nature that he had expected.

This work doesn’t aim at visually amazing his public, but it aims at being a research about the poetry and the purity of this age, about the innocence of these kids, and about their way to be, deep down, still children. It aims at revealing a reality that is complicated, but at the same time so normal to seems light years away from its surroundings.



Arianna Sanesi | Dispersal

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It’s a misty day and we’ve already been walking for a couple of hours. It’s been raining for weeks now, the forest has an apocalyptic feel to it, trees have fallen and the air is still, yet full of muffled sounds. [..] Weather for wolves, we use to say in Italy, and we are so mistaken. Wolves don’t like the rain[..] My friend and guide keeps checking the GPS signal, to lead me where the wolf’s collar sent the same signal one year ago. We are seeing what the wolf has seen, I keep thinking. Maybe.
Something white among the leaves: a long, thick bone. Clean, totally clean. Wolves use to sleep by their hunted preys until there’s nothing left, I’ve read. I gleam with joy: we’re on the right path.
“Aren’t you scared? A predator is close to us, in this very moment, maybe.” asks my friend.
No, I’m not. Wolves are almost impossible to meet, people say, but they are most likely watching you while you least expect it. It’s their nature. It’s how they live. Being just allowed in their realm, and being able to see and tell what they see, it’s already a big honour.

Qian-Zhao- offcut,the edge 12

Zhao Qian | Offcut, the Edge

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Offcut, the Edge

“I flew to San Francisco from Shanghai on August 11, 2014. The whole journey extended 9,872 miles, and the flight took 10 hours and 50 minutes. The time difference between Shanghai and San Francisco was 15 hours, so I took three days to get adjusted. I slept for at least ten hours each day. ”


This series is based on my daily life and imagination. I keep a distance from the city I now live in. Landmarks, shopping malls and new neighborhoods help me to constructed an un-real city in im- ages and memory: a fictitious city that is based on an actual place but that is transformed by an as- sociative process. With people seeming to appear out of mist, the slightly off-kilter images connect to something odd but interesting. These images ask viewers to look again, to step closer, to investi- gate what might be there in that other dimension.


Fabrizio Albertini | Diary of an Italian borderworker

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Diary of an Italian borderworker

border-worker [ ˈbôrd|ər ˈwər|kər] noun.

Inhabitant of the borderlands between two countries; a worker who, resident in one area, must cross the border daily to reach their place of work.

Diary of an Italian Border-worker is a story that wends through the streets as traversed by a border-worker. A passage that describes the relationship between territory and working reality, beyond a merely occupational context. It’s a journey that imparts the sensations of a foreign, adjacent landscape. A micro-reality told in point-form, in nuances, where every shot is taken in close proximity to the asphalt.


Lèo Delafontaine | Arktikugol

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Barentsburg, named after the Dutch explorer Willem Barentsz, is an Arctic mining town in Svalbard, 55 kilome- ters from Longyearbyen in Norway. It is owned by the Arktikugol trust, a Russian company employing princi- pally Ukranian workers.

In 1920, the Spitzberg Treaty allocated the Svalbard region to Norway under two conditions: The area must be demilitarized and each of the countries signing the treaty must be able to exploit the underground resources. Russia is the only remaining country to take advantage of these rights, mainly for geopolitical reasons as the mine has never been profitable. Barentsburg was therefore a frontline observation post during the cold war and will be a strategic position in the new maritime routes that will open up in the Arctic if ice cap melting worsens.

During the cold war, the town underwent an economic boom and had up to 1500 inhabitants. The Soviet population in Svalbard even outnumbered the Norwegian population at that time. Today, 370 people still live
in this abandoned town which has no bars or restaurants. And what use would they be? Since no-one there has cash, only a smart card that automatically debits anything you buy from your pay. The Ukrainian or Tajik miners only receive their pay at the end of their contract. In the meantime, they bide their time between working in an unhealthy mine, Arctic nights and a lack of entertainment.

Barentsburg – a snapshot of the vestiges of the former Soviet power.


Alexandra Serrano | Entre Chien et Loup

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Entre Chien et Loup

Entre Chien et Loup is a photographic series that depicts the forest as a space of the unseen and the mysterious whose immensity engenders admiration, contemplation and fright. The series starts as a journey of wander into the woods and slowly turns into a quest for identity scattered with obstacles, singular rituals and secret hideaways. Transcended by the timelessness of the natural world, the visitor looses himself into the darkest recesses of the woods. Carried by playing and daydreaming he invests, tames and transforms its landscape in an attempt to escape the monotony of everyday life.

In this game of hide and seek between fantasy and reality the hut, the cabin, the cave, play an essential role. Natural and unruly, these constructions are part of the forest a mythical land full of mysteries and illusions. They blend into the surrounding nature, taking up the colour of the seasons until their destruction. Temporary shelters or secondary homes they guarantee a quiet and protected rest, a timeless moment away from the world which can still be contemplated without the fear of being seen.

Found or built these refuges escape the ordinary spatial categories, forming unique
territories, heterotopias halfway between a geographical reality and human imagination. Hideouts where eclectic findings and valiantly earned trophies are carefully stored. Sacred places where fantasies of freedom and promises of escape are finally fulfilled. But if the hut and the cavern accompany the traveller in his quest, they are also the nightmare that awaits every dream for they can as well be uncanny and forbidden places inhabited by harmful individuals. Ambushes that can quickly turn into prisons if one was to fall into them.


Emanuele Occhipinti | The flowers of Kosmet

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The flowers of Kosmet

Kosmet” is short for “Kosovo and Metohija”, a land which has been long disputed by the Serbian and Albanian Kosovans. After the war, unleashed by Slobodan Milošević in 1999, the UN intervention allowed for a gradual return of the Albanians, who in their turn enacted a ferocious revenge against the Serbs, despite the presence of peace-keeping forces. For over a decade, Albanians forced about 200,000 Serbs to flee Kosmet and seek refuge in safer areas. The Albanians also desecrated hundreds of graveyards and orthodox monasteries; a serious insult for the Serbs, who consider these lands to be sacred because of their historic religious significance.

Due to the ongoing violence and the lack of security, Serbs now represent less than 20% of the population of Kosmet. Most of them reside in the neighbourhood of Mitrovica located to the north of the Ibar River. The opposite shore, accessible across a bridge which divides rather than unites, is inhabited by Albanians. Elsewhere in Kosmet, Serbs are confined to small enclaves; extremely poor villages on the outskirts of towns, or little hamlets perched on mountainsides, with no water or electricity, no clinics, no schools. Even their freedom of movement is limited: venturing outside their “ghettos” means exposing themselves to reprisals; in some areas, when night falls, even leaving one’s home is dangerous.

During my journey through Kosmet, I visited some of these enclaves, meeting the Serbs and hearing their stories of violence and misery. I could perceive the hatred which divides them from the Albanians, a hatred that continues to be fuelled and handed down from one generation to the next, so that a peaceful solution to this dreadful coexistence becomes ever more difficult to reach. My work seeks to tell the stories of these people’s lives, people who are rooted to their land, as are the božur – the local name for peonies – the flowers of Kosmet, scarlet in colour, just like the blood that has been spilt in this never-ending war.