This project is about poetry of space, found in rural regions all over of the European continent. From 2015 to 2018 Peter Braunholz worked in all european countries and traveled from village to village, more than 20,000 miles in total. The displayed images are from Spain, Germany, Norway, Sweden, France, Portugal and Italy.

 There are no people in the photographs, yet immanent in all of them is a sense of human presence. As we compare these images, we feel that the series also questions how people live all over Europe, how people from different regions take possession and comprehend spaces differently, and how culture transforms spaces in the way the economic and cultural logic drives our lives.

 The work is also related to Arthur Danto´s idea of art as "The Transfiguration of the Commonplace" (Harvard University Press, 1981). Peter Braunholz has chosen common small town spaces away from traffic routes as the motifs for his work. He puts the focus not only on their material, but also on their immaterial quality. Therefore his work serves as an example for Danto’s ideas that art gives obvious things an oddness – it defamiliarises – and artworks have immaterial as well as material constituents.

 You will find more images from the series and of Peter Braunholz's work on his website. The series contains 70 selected photographs in total. A greater selection has been published in the monographic book "Photographic Realities" by Kehrer Publishing, Germany.


 Peter Braunholz (b. 1963) is a photographic artist based in Frankfurt, Germany. His work has received numerous international awards and has been shown worldwide. Today he focuses on the volatile and often model-like identity of common space.




Fade Away




During the past decade, China is experiencing the largest internal migration in its history, involving especially the minorities living in the remote areas of the country. In Guizhou, the poorest province of the China, two million people, mostly from the Miao minority, are being pushed, through economic incentives, to leave their villages situated in isolated mountain and to be relocated into neighborhoods in urban cities, specifically built for them. This ongoing relocation, started in 2012 is expected to end by 2020, according to the local government it will allow the villagers to alleviate their poverty conditions.
The photographic project analyze the loss of identity of the people who chose to abandon their household surrounding themselves of a new extraneous environment, portraying also the daily rural life of those who decided to resist in a traditional world, where everything around them is rapidly fading away.


The italian photographer Michele Palazzi (b.1984) works with current social issues through a subjective approach, confronting the contemporary man with his origins, through a look that investigates the past in order to interpret the present. He has won several recognitions, among which the First Prize of the World Press Photo Award in the category Daily Life - Stories.
He is currently working on FINISTERRAE, a long term project concerning the southern European crisis and he works as a photography teacher at the Rome University of Fine Arts.


When The Dust Settles




Joel Jimenez (b. 1993) is a photographer based in San Jose, Costa Rica, currently pursuing a B.A. in Photography while working on personal and collaborative projects.
His work is influenced by the theoretical and conceptual analysis of space and its possibilities to convey human conditions, emotional and psychological states, and how it correlates in a broad sense with social issues in our contemporary society.
Throughout his images, he reflects on the dynamics of identity and memory between people and the environment they inhabit and reveals landscape itself is a practice that constructs, rather than records, the world.


There is a symbiotic relationship between humanity and the landscape, continually evolving, changing and influencing one another; this thought is better understood by the notion of the atmosphere.
Atmospheres can be defined as perceptual states emerging from the resonance between the body’s senses and affective capacities, and the spatial and material qualities of a place.
This approach to the study of place and man is concerned with the psychological and emotional stimulus that arise from that dynamic.
Even though sociological and ecological issues are represented throughout the series, they are the outcome of subjective processes related to affections manifested through phenomenological discourses of time, memory, and identity imprinted in space.
These traces of human intervention deal with themes of longingness, solitude, and nostalgia in contemporary society, through ambiguous and elusive imagery that respond to the personal experience of the land we inhabit.



East End Archive




In 1984, Chris Dorley-Brown, a British photographer and curator, started to photograph the corners of East London with several multiple exposures, which gave the possibility of creating a dream-like scenery composed by several narratives happening at the same time. The long term project is a reflection on how those are places of brief interactions and intersections and shows the ever changing side of East London.

The archive is a wide ranging colour record made with medium format colour negative film and, after 2006, digital cameras. Numbering around 8000 images, the archive is expanding it’s scope to include the outer east London boroughs. The pictures study architecture, public events, civic life, portraits, development of housing and social services. Elements of the archive are collected and held by various London Borough archives, the Museum of London, Barts Hospital, BBC and several private collections.






Athens is condensed, homogeneous and grey. 
Although it is surrounded by four large mountains and built around a number of hills, the bare ground can hardly be seen anymore. The new soil is concrete and so is the new horizon.


Margarita Yoko Nikitaki is a Greek-Japanese photographer based in Athens, Greece. 
She studied photography at FOCUS School of Photography in Athens and she obtained her BA degree in Graphic Design from TEI of Athens / FGAD / School of Graphic Design. She works as a freelance photographer in commercial, editorial, architectural, industrial and agricultural projects for design studios, companies and magazines. She also works as a still photographer in movie sets. Her personal work has been exhibited at Thessaloniki Biennale of Contemporary Art, National Museum of Contemporary Art (EMST), Festival Internacional de Fotografía de Tenerife, Grace Athens, Tbilisi Photo Festival, Athens Photo Festival and more. She is currently studying for her Master's degree in Social and Cultural Anthropology at Panteion University of Social and Political Studies in Athens.







Jennifer Niederhauser Schlup, lives and works in Lausanne. She holds a Bachelor in Photography from Massachusetts College of Art and Design, Boston and a Master in Art Direction from the Universuty of Art and Design, Lausanne (Ecal). Her work has been shown in various exhibition and publications.

In 2014 she was a FOAM Talent as well as a Vfg nachwuchsförderpreis laureate and shortlisted for the Voies Off Prize. Her work has been included in exhibitions at Atelier Néerlandais — Paris, East Wing Gallery — Dubai, BEARSPACE gallery — London among others.

She is also the Editor-in-Chief and Creative Director of Adventice Editions (AE), which she founded in 2011 together with graphic designer Florine Bonaventure. AE is an independent publishing house which releases annually the eponymous publication Adventice.



La Vallée postulates photography as a creator of stories, whether they fall under pure invention or are rooted in a certain reality. Photography becomes here the
vector of a very personal vision and tends to fiction. Taking the aspect of a fictional study, the project considers la Vallée de Joux and its geographic, demographic and industrial characteristics, emphasizing the heterogeneous aspects of the region. Indeed, this area is a microcosm where traditions, rigor, industry and luxury come together. These notions, sometimes paradoxical, are the result of its location as a remote valley of the Jura and its importance as one of the birthplaces of the watch industry.

La Vallée shows an unconventional perspective on this unique socio-geographic context and contradicts prejudices deeply rooted in the imagination of the foreigner. The photographs, in the guise of documentary and objective images are manipulated, retouched and composed so as to create a manufactured substantiality and disturb the viewer. The whole consists of various series each adopting a specific aesthetic and re-interpreting various photographic genres.The story becomes emblematic and exposes the importance of imagination in creating a site-specific identity.

The series presented here is Industrie.


Editor's note

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






Sobre os limites da nossa perceção e do nosso entendimento. Sobre o momento em que parece que podemos agarrar, compreender, mas a verdade nos escapa. Sobre o movimento hesitante que acompanha esse momento, sobre esse mistério. Um peso, uma estranheza, uma solidão. Também um encantamento, um silêncio bom e uma promessa de algo que se esconde, algo que está longe, que é demasiado grande ou demasiado pequeno. Sobre a nossa perceção e entendimento do espaço. O que é o vazio, o que existe entre as coisas, o que as separa ou as une. Tentando mostrar o espaço, imaginando-lhe formas. À procura desse vazio, encontrei outras coisas difíceis de ver, coisas opacas, abismos, escuridão e demasiada luz. Continuo à procura, na noite, na neve, no nevoeiro.


Ana Miriam estudou Artes Plásticas no Porto e em Bordéus e frequenta o Mestrado em Criação Artística Contemporânea, na Universidade de Aveiro. O seu trabalho fotográfico explora diferentes aspetos da vivência do espaço em contextos e escalas distintos, do urbano ao rural e da casa à paisagem. Trabalha como freelancer no âmbito da fotografia de arquitetura e é formadora na área da fotografia.






Vasco Nobre Lopes completed his M.Arch at UAL University (Lisbon) in 2007 and collaborated with several Portuguese architectural offices. In 2012 he established the "Forja Project" - Research/Post-Crisis/Resilient/Solutions. 


FORJA - def.:

Construct, contrive, create, devise, fabricate, fashion, form, frame, hammer out, invent, make, mould, shape, work  

2    coin, copy, counterfeit, fake, falsify, feign, imitate.

There is an old saying that goes "ignorance is no excuse". Well, at this point one could take it a stop further and say ignorance can be fatal. A young person today must have the technology and the know-how. Never before has self sufficiency and education been so important and they are virtually inseparable from survival.

All photographs were made in the working process of the architectural studio forja.

Editor´s note

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






Filip Dujardin (Ghent, Belgium, 1971) is an Art Historian (University of Ghent) specialized in Architecture and Photography (Academy of Ghent). He was technical assistant of Magnum-Photographer Carl De Keyzer and collaborated with Frederik Vercruysse.

He has published his work in national and international books and magazines, participated in several individual and group exhibitions since 2007, and has collaborated several times with scopio Editorial Line: invited author in the section Projects of scopio magazine aboveground architecture, speaker at the congress ON THE SURFACE: Public Space and Architectural images in debate and invited photographer to integrate the jury of the international photography contest aboveground territory.

His significant and inspiring work is mostly characterized by an artistic strategy that uses the tools of digital imaging as an opportunity for a postmodern project that unveils the pretence of photographic objectivity, making us more attentive to the architecture that surrounds us and to where we live and work.

Filip Dujardin uses the power of digital manipulation not to mask or denature a profound reality, but to call our critical attention to it, and his work is used, not to blur our ontological distinctions between the imaginary and the real, but to sharpen our critical attitude towards the existing architecture of today.

Pedro Leão Neto






Tatewaki Nio nasceu em Kobe, Japão em 1971. Vive e trabalha em São Paulo desde 1998. Formado em sociologia pela Universidade de Sophia (Tóquio, Japão) estudou fotografia no SENAC (São Paulo, Brasil). Com várias exposições individuais e colectivas, prémios e colecções é representado pela Fauna Galeria. 


Escultura do Inconsciente investiga a paisagem de uma urbe em transformação, resultado da especulação imobiliária e da construção de grandes empreendimentos comerciais avassaladores, que transpõem a construção espontânea da Região Metropolitana de São Paulo do Brasil. Através deste projecto, Nio trata da efemeridade dos espaços em (des)construção a partir do registo dos vestígios e do resultado deste conflito. Terrenos baldios e prédios prestes a serem demolidos são alguns dos temas tratados. Os vazios registados são compostos por uma estranha presença sobre – humana. O uso de uma câmera de grande formato, permite que uma maior quantidade de detalhes dessa paisagem moldem enormes criaturas nas cidades. Num ato demorado e atento - oposto ao ritmo vertiginoso de transformação da paisagem -, este projecto demonstra a importância desses objetos, esculturas que esboçam fragilidade na eminência de sua extinção.

Iniciado em 2006 e continuado até hoje o projeto Escultura do Inconsciente contém mais de 70 imagens concluídas.

Editor´s note

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







Guilherme Bergamini (Belo Horizonte, Brasil), formado em jornalismo, trabalha com fotografia há quase duas décadas. Premiado em concursos nacionais, participou de festivais e exposições coletivas e individuais, além de ter fotos publicadas em diferentes veículos de comunicação brasileiros.



Educar é conquistar novos horizontes, novas possibilidades de vida, mais digna e justa. Conhecimento abre portas e rompe fronteiras, permitindo que nossos sonhos e desejos sejam realizados. Não investir em educação é perpetuar a ignorância, o domínio de uma minoria perante a maioria. Informação é poder de escolha, é saber definir quem irá proporcionar o crescimento de uma nação, a igualdade entre os povos e a soberania de um Estado. O País que não educa permanece estagnado, sem horizontes e fadado ao fracasso. Estudar é alcançar novos mundos, com a certeza de um horizonte justo, igualitário e fraterno. Uma democracia consolidada para todos.


Nota do Editor

O projecto apresentado foi seleccionado a partir de uma candidatura espontânea de Guilherme Bergamini. O nosso objectivo é divulgar e trazer à luz o trabalho de jovens fotógrafos emergentes.







Having grown up in the North of England, amidst a once great swathe of heavy industry, I have been fascinated by the terminal decline of an industrialised society and its tumultuous move towards the post-industrial, and ultimately globalised, society that we inhabit today. This has been a gradual and at times painful transition towards the latter part of the 20th century. Now in the 21st century, we live in a technological age reliant upon ever increasing levels of globalisation and homogenisation, fraught with its own societal complexities and nuances.

My photographic practice is concerned with exploring and documenting these urban and industrial environments. Often overlooked or ignored, these places impact heavily upon the individual subconscious. It is within this construct that a greater understanding of the human psyche is sought, and how the implications of the modern world reflect upon our everyday being. By documenting the architecture and infrastructure of the hidden and banal, the possibility arises to meditate upon, not just the space that we inhabit, but also the space within ourselves.



In the post-war era Britain's population was faced with massive housing shortages. The existing housing stock was often disgracefully inadequate for even the most basic of needs. Modernist architecture with its close links to left wing ideology reflected a progressive solution to the practical and social issues of the time.

At its height in the 50’s Social Housing was unquestionably a central pillar of Britain's regeneration following the devastation of the Second World War. Modern, and affordable, it represented an advancement in society; where the working classes were for the first time given the opportunity to live in a decent home. These projects and buildings were often striking exercises, bold and futuristic in their character and breathtaking in the scale of their ambition.

Of course not everything proposed and executed by the town planners was to be warmly received. The high level philosophy and design of Corbusier was all too frequently brought crashing down to earth by the constraints of both economy and ability. 

Beyond the physical our psychological relationship towards these estates and buildings was quickly and profoundly altered. Far from being symbols of hope and egalitarianism, estates became places to avoid. The notoriety increased exponentially through the 80's and 90's. Names such as Moss Side or Red Road taking on almost mythic proportions, becoming as much feared and despised as the very slums and tenements which they replaced.

The rampant excesses of the housing market in the late 1990’s, which lead to an Englishman's home becoming not only his castle but his retirement fund, all but finished the job started almost thirty years earlier. The unabashed pursuit of wealth and self-interest seeming to prove that there really was no such thing as society after all.

Housing Estates today have come to be associated with high levels of social stigma; they are seen as places of social exclusion. Homes to the forgotten under-classes. They provide the stage backdrop to our broken society neuroses. As compelling and titillating as any of Hogarth's scenes.

But in the midst of all the media hyperbole and theorising what are these places? Even today are they not people's homes? Places where children play and belong, where treasured childhood memories are formed however repellant this may seem to middle class observers?

What do we see when we look at these images of neglect and decay? How strikingly the physical neglect and abandonment of these homes and proud ambitions seems to reflect the disintegration and malaise of our society as a whole and perhaps even ourselves as individuals.







Estela Izuel (Argentina, 1966) is an award winning photographer who works in personal-essay photography.

She graduated from the Universidad Nacional de La Plata and has received the National Art Fund Grant in 2012, a Grant for artistic creation from the Antorchas Foundation, and participated at the Fotofest portfolio review (Houston). Estela has received the 1º Chandon Cultural Award from the Caraffa Art Museum, the 2º Prize from the “VI Klemm Foundation for Visual Arts Award”.

Izuel's work was presented at ArteBA, by Fundación del Banco Provincia de Buenos Aires. She has exhibited at the Salón Nacional de Artes Visuales, Buenos Aires Photo: Petrobras Award, Fundación Andreani Award, Museo Caraffa, Senado de la provincia de Buenos Aires, Museo de Arte Moderno (MAMBA), Centro Cultural Ricardo Rojas.

Her works have been acquired by Museo Caraffa, Museo de Bellas Artes de Buenos Aires, Fundación Federico Klemm, Museo de las Américas (Denver) and private collections from Argentina, Chile and USA.



"Faced with a threatened existence, the record of images is basic. Hence the picture is the right way to fix a far away time. 

To Estela Izuel, theaters are not only the reason. The images shown do not refer to life as theatre, we only found a speculative, distant registration. Inside them, recorded with objective eye, focuses on the relationship between space use and men who are gone. The absence of people is strange, is that we have never seen an illuminated and empty theater. No event, no action, only the state of things. The void left when customs change. 

Images are not the record of physical space. They are traces of social habits that have passed; and that she photographs. Empty rigorously environments that surround us and invite to look at them again.

But the axial gaze is diverted; and subjectivity emerges. This marks the tension between public space, private space and dramatic space. Because a foreshorten view shows a private look.

The theatre is not in the dramatic action that happens but in architecture. A frozen scene leads us inevitably to the narration of the events that happened."

Dardo Arbide






Xavier Ribas is a photographer and lecturer at the University of Brighton, and visiting lecturer at the Universidad Politécnica de Valencia. He studied Social Anthropology at the University of Barcelona (1990) and Documentary Photography at the Newport School of Art and Design (1993). Currently lives and works in Brighton and Barcelona.

His photographic works investigate notions of place, memory and the city. Trained as an anthropologist, his work is also informed by former professional experience in the fields of urban planning and architecture.

Xavier Ribas has received numerous international commissions from organisations such as the Fonds National d’Art Contemporain - FNAC (France), the International Photography Research network – IPRN (Uk), the Barcelona Museum of Contemporary Art – MACBA (Spain), the Zoneattive / Rome International Photography Bienale (Italy) and the Goethe Institut (Germany). Two monographs of his work are published: Xavier Ribas (University of Salamanca, 1998) and Sanctuary (Editorial Gustavo Gili, 2005).

Ribas' photographs of the marginal spaces on the periphery of Barcelona, taken between 1994-1997, and published as a monograph in 1998, focus on the dichotomy between the urban definition, or indefinition, of public spaces and the character of everyday practice. His images suggest that while the notion of the super-modern 'non-place' (Marc Augé) implies the idea of alienation, the residual vacant plot and the open ground of the city's edge can be thought as spaces of freedom.

This project was published in scopio magazine, aboveground: territory. 

Pedro Leão Neto