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.




One at a Time




Casale Monferrato, Piedmont, Italy. 

"One at a time" is a journey through places, testimonies and memories showing  the "void" that this story has left in Casale Monferrato, the Italian town where the Eternit factory was built in 1906.

The factory produced a mixture of cement and asbestos whose fibre caused several respiratory diseases such as asbestosis or a particularly malignant tumour: the pleural mesothelioma. It wasn’t just former workers who contracted diseases: citizens of nearby Casale also felt ill, as leftover asbestos dust was used for heat insulation and fire-proofing in their homes.

Over the years the factory marked the history of this town and its inhabitants: the indiscriminate use of the territory has significantly altered its appearance, interfering negatively in the people’s daily life and transforming the urban and natural landscape. There is no longer relation between man and his environment.

The building’s ruins, the residual asbestos packed in a wood, the banks of Po river show a land still tormented by the presence of the deadly factory which, even demolished, continues to return something harmful to humans and environment.

In Casale Monferrato people continue to die and their absence is perceptible.


Born in 1973 in Rome where he currently lives and works, Alfredo studied photography at the European Institute of Design and subsequently obtained a Master in Photojournalism at the Higher Institute of Photography and Integrated Communications (ISFCI) in Rome. Through documentary photography, he explores several issues: from the interaction between man and the environment to the impact of human intervention on the urban and natural landscape, paying particular attention to the transformation of the territories and the connections between places, memory and absence.

He is carrying out his projects in Italy and in other countries such as Argentina, Turkey and the Republic of Moldova. His work has been shown in personal and collective exhibitions. In 2008, Alfredo won the Yan Geffroy Prize from Grazia Neri photo agency with his project “Dear Moldova” and in 2010 he was finalist at the Sony World Photography Awards. In 2009, he co-founded “Punto di Svista”, a cultural association about visual arts in Italy, and became part of the editorial committee of the online magazine. From 2009 to 2014 he was a staff photographer at OnOff Picture Agency.


Garden Of Delight




Nick Hannes (1974, Antwerp) travelled to Dubai five times between 2016 and 2018 in order to put his reservations and prejudices about the city to the test. It quickly became clear that Dubai represented the extreme form of the topics that he had been tackling for years. The city was a case study in breakneck, market-driven urbanisation; the ultimate playground for globalisation and capitalism without limits or ethics; or, to put it another way, Dubai was an out-of-control entertainment hall, meticulously designed to serve unbridled consumerism.   

Hannes’ photographs function as a razor-sharp knife that uses humour and irony to slice through this metropolis of the future. What remains, in the words of the Dutch architect Rem Koolhaas, is a “Generic City”, without history, personality or identity; a city that is “indifferent to its inhabitants”. To Hannes, it is a place where “human activities are reduced to their economic value”. 

The Netherlandish painter Hieronymous Bosch painted his iconic triptych Garden of Earthly Delights over 500 years ago. The central panel depicts a false paradise, right before the Fall. It is a dystopian image to which Hannes – from his outsider position – likes to refer. He reveals Dubai as a Theatrum Mundi, at times with dismay, at others with dumbfoundedness, but always with a desire to understand. Is a model like Dubai economically and socially sustainable – or are we still, 500 years after Bosch, living in the same ill-omened theatre of the world? 

Joachim Naudts


Nick Hannes (b. 1974, Antwerp) studied photography at the Royal Academy of Fine Arts (KASK) in Ghent, after which he started working as a photojournalist. Since 2006, however, he has devoted himself entirely to his personal artistic practice. His work is documentary and socially critical, and has a strong socio-political slant. Using humour, irony and visual metaphors, he focuses on the problematic relationship between man and his environment.

Nick published 3 books: ‘Red Journey’ (Lannoo 2009) deals with the transitional phase in post-communist society. ‘Mediterranean. ‘The Continuity of Man’ (Hannibal 2014) focuses on various contemporary issues such as mass-tourism, urbanization, migration and crises of various kinds in the Mediterranean region. ‘Garden of Delight’ (Hannibal/André Frère Editions, 2018) showcases Dubai as the ultimate playground of globalization and capitalism, and raises questions about authenticity and sustainability.
‘Garden of Delight’, was awarded the Magnum Photography Award in 2017 and the Zeiss Photograohy Award in 2018. 
Nick exhibited at FotoMuseum Antwerp, Fotofestiwal Lodz, Organ Vida Zagreb, Stadtische Galerie Iserlohn, Centro Andaluz de la Fotografia Almeria, Triennial of Photography Hamburg, Photomed (Beirut), FotoIstanbul among others.
Since 2008 he teaches documentary photography at KASK/The School of Arts in Ghent (B).
Hannes is represented by Panos Pictures in London.



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.






Franky Verdickt, born in 1971 in Belgium and author of two books “The South Street Village” and “Nobody Likes To Be Hindered by Worldly Troubles“, mixes documentary photography with conceptual ideas. His work suggests a thin line between reality and fiction. His personal work has been awarded and published internationally.
Later this year, he will publish his third book on the ambivalent situation of Taiwan.

The project of TOTEM examines the notion of living as the fundamental key experience that opens and unlocks other experiences. It’s the co- existence between man and reality and is the most fundamental of human existence, it creates a frame where in all becomes possible. Living can not be seen as an activity, but is foremost the symbolic transformation of the endless time into history, to create the wild and nameless nature into a world. Living in this undefined space means to create a center, to mark a point, a topos, to create a place to whom one can connect. From that moment the totem is placed, the space is structured, one can leave and return, and can be at home in a human world.

T O T E M shows how men create a place for living. Before these places became into living places, they were farm fields or wastelands outside the nearest town or city. Now they are a sort of urbanized countryside, pretending to be still rural.They seem like 21st century tribal settlements.These places should give identity and create a sense of community, where commuters charge their being-at-home or share the same park.

The images were taken in the Egyptian desert, Jewish settlements in the Westbank, Belgium, Azerbaijan, Brazil and China.

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Paradise Fell




Being raised by a Sri Lankan father meant pieces of his culture were scattered throughout our home and daily life. It has been strange but intriguing to watch how all these parts of my upbringing are now weaving their way into my everyday interactions in the cultural climate of Australia.

Drawaing inspiration from William Christenberry’s musings of rural Alabama and Lyndal Iron’s raw documentation of Sydney’s notorious Parramatta Road, my series “Paradise Fell“ aims to capture a portrait of my father’s home country of Sri Lanka - a nation struggling to define themselves in a post-war economic climate.

In only my second visit to Sri Lanka, I began a photographic exploration of the effects that the civil war and tsunami had on the landscape and its inhabitants. With an aim to visit wartom Jaffina in the north, and surfing hotspot Trincomalee and Arugambay on the east, my father and I retraced a route he had travelled with his family fifty year prior. Many areas we visited were quite sensitive: roofless, shells of houses with years of vegetation regrowth claiming back the structure; abandoned factories still manned by military checkpoints; parts of the city still inaccessible.

In a way, Sri Lanka is the quintessential battler. Rebuilding a society, both physically and psychologically, after a twenty-six year civil war and a deadly tsunami that killed over thirty thousand people is no simple task. Add to that the exponential influx of tourism and the economic politics it brings, and you have a country struggling to focus on the necessities, neglecting their people, and falling to rebuild what was so violently taken away.
Sri Lanka is going through a rapid development that it is not que ready for, and to this I wanted to turn a camera to further explore with an open-minded, positive conscience, and to shoot with respect and purpose.

Artist Statement
Darsh Seneviratne is a twenty-four year old photographer specialising in series-based work. With a passion for documentation and collection cultivated from a young age, his series range from being compiled over a few days to several years. Drawing on technical knowledge founded in traditional analogue photography, Seneviratne documents personal spaces and their inherent human interactions, collecting momentary happenings and structured portraits. These scenes compile series that seek to highlight the lasting traces of people. With a thorough focus on colour and image structure, and bound by the precision of accuracy demanded by analogue technology, Seneviratne creates these series to serve as a reflection of human interaction with per- sonal and public realms and how we perceive them.



I'm Here With You




The majority of LGBTQ people in South Korea hide their true identities from their colleagues, friends and their families. Despite a recent surge in LGBTQ activism, Korea remains a very conservative country and those who come out face being disowned by family or dismissed from their employers. Many Koreans still express bitter hostility toward LGBTQ people, while others simply deny their existence. The Korean military actively hunts down gay soldiers, going so far as to mount sting operations using gay dating apps. And when someone does come out, parents and family members often choose to ignore the truth.

This project literally and metaphorically represents sexual minorities living in Korea who are forced to hide their sexual identity. The LGBTQ individuals photographed—all facing away from the camera—remind us of how Korean society continues to neglect and refuse to accept them. By creating these images, my intent is to both implicate the viewer in the nation’s larger refusal to acknowledge the identity of LGBTQ individuals and, more importantly, to spur us all to take action and change this attitude once and for all.


Gowun Lee (b. 1984) is a visual artist who utilizes photography. She explores themes of a social issue such as LGBTQ in South Korea and human relationship in conceptual ways. She moved to South Korea from New York for her ongoing project.

She received BFA in Photography from the School of Visual Arts. She has been shortlisted for Tokyo International Photo Competition, ZEISS Photography Award 2018, 2018 Aperture Summer Open: The Way We Live Now.

Her images have been featured in Open Society Foundations, The Guardian, CNN Style, Bubblegumclub, Aperture Foundation, Korean daily, Monthly photo, ZEISS LensPire, and World Photography Organization.

Her work has been included in exhibitions at the United Photo Industries Gallery in New York, Onfoto Gallery in Taiwan, SVA Chelsea Gallery in New York, Tak Gallery in Seoul, MayFlay in Seoul, Wonder Fotoday in Taiwan, Head On Photo Festival in Australia , Somerset house in London and Upcoming exhibition T3 Photo Festival in Tokyo.



1,864 KM


1,864 KM


Originally from Manchester, UK, I've lived and worked in London and Singapore, and been lucky enough to travel fairly widely over time. Living and travelling away from home for so long means developing a new set of visual understandings, and I've tried to do this through exploration and photography.
I prefer to experience travel at a human pace, and so I walk and drive a lot. Once, I rode the international rail network for 20,000 km, all the way from Singapore to Manchester, to make the journey without flying, and to see what's in between these two sometime homes.
I'm now based in Canberra, Australia, spending my time trying to see as much of this huge strange country as possible.


These photos were taken during road trips and walks through many of the small towns located between Canberra and the Orana and Riverina regions of New South Wales, throughout September 2013.
These towns are dusty, hot, and so quiet as to be almost silent. In many places, the streets are deserted and buildings abandoned. After living in large cities all of my life it always amazes me that you can wander in and out of an entire town without encountering another soul.
1,864 km was the distance covered by my trusty Mitsubishi Magna that month.






This work is the practice-based outcome of my ongoing PhD research. It consists of a series of photographs taken in the Historic City centre of Palermo between the years 2014- 2018.  I was interested in investigating through my photographic practice, the influence of a Baroque mode of thought expressed through architecture, and extended throughout an urban space. In particular, I was interested in the possibility that a “Baroque environment” in this specific location- now at the Edge of “fortress Europe” but once at the centre of a different world order that stretched into the Orient as much as the Occident, could contribute to different readings, or manifestations, of Modernity. I have been visiting Palermo since 1994, and one of the things that has consistently struck me about this ancient, beautiful, and troubled city, is its markedly different relationship to time compared to most other European cities. This relationship with time is reflected day to day, but also across historical time. It is not a linear teleological version of time, measuring out the steady and ineluctable advance of progress, but circular. It is full of strange reruns and co-existences where past and present mingle in the same space. It is a place dominated both by the figure of the ruin, central to Walter Benjamin’s conception of the Baroque, and of the labyrinth, a trope of 17century Baroque thinking indicating cultural anxiety, and uncertainty about the outcomes of human endeavour (analogous to the postmodernism of our own time). With this series of photographs, I have attempted to engage with these ideas. I have used something of the visual rhetoric of the Baroque through the use of Chiaroscuro, which is both a cultural construct and the result of a collision between nature and culture in this environment. the idea of the shadow and what lies behind it (dietrologlia) is a part of the Palermitan psyche; The writer David Williams in his essay on Palermo in the book Performing Cities, puts it this way- “a melancholic obsession with “what lies behind” (dietro); behind surface appearances, received “truths”, language, silence, history; behind cover-ups and walls of all kinds.” I have also used the juxtaposition of the interior/exterior the one folding into the other. The Baroque church interiors giving way to the street which is itself a type of interior.

More images of the project  click

About the author
Martin Cole studied theology at Exeter university, Documentary Photography at Newport school of Art and Design, BA in Photography at the West Surrey college of Art and Design and is presently finishing a PhD in Photography at Plymouth University under the supervision of professors Jem Southam and David Chandler.  His exhibitions include New contemporaries 96 at the Tate Liverpool.  Evident, New landscape Photography at the Photographers Gallery 1997 with Axel Hutte, James Welling, and Catherine Opie.  New British Photography Stadthaus Ulm Germany 1998.  Mediterranean, between utopia and Reality Photographers gallery 2004. Floral Portraits Print Room Photographers Gallery 2009. Offsite projects for the Photographers gallery at Liberty in Regent st and Coutts bank in the strand London 2009/2010. Publications include Wine Dark Sea, Photo works monograph 2003. His Work is held in the permanent collection of the V+A museum London. His current working in Palermo Sicily and lives in Brighton.









Turia (you cannot step into the same river twice)

Changes in the physiognomy of the rivers in Spain have been vertiginous over the last one hundred years, due to new industrial and demographic necessities, and favored by political interests, which have promoted architectural projects as a symbol of power and progress.

In the Turia river, some of these changes have been extraordinary and have converted the river, from its source to its mouth, into a protagonist and witness of the political models, economical changes, and social development, occurred in the contemporary history of the region.

Located in the east of the Iberian Peninsula, the Turia river springs in the mountain ranges and flows across a rural environment throughout towns and villages. Downstream, there are two big reservoirs-fetish construction that characterized Franco’s dictatorship. In the 60’s, the course of the Turia was diverted, leaving Valencia, the Turia’s capital, without its river.

Nowadays, a zoo, football pitches, an opera theater, and the biggest aquarium of Europe, join together without complexes over the former course crossing the city to end in La Ciudad de las Artes y las Ciencias, an architectural complex with futuristic aesthetics and pharaonic dimensions that completes the extraordinary metamorphosis of the landscape.

Because of its features, the Turia river becomes a space of reflection and summarizes, like no other, the idiosyncrasy of the nation, reflecting success, failures, dreams, complexities, miseries and richness. Here, the political power has determined the contemporary concept of progress and the river is presented not only as a metaphor but also as evidence of constant change; a strange condition that invites the people to assume a blurred past, a disconcerting present and an uncertain future.

About the author
Juan Margolles’s work explores cities as a reflection space that refers to the contemporary citizen and their relationship with the environment. His photographic projects analyze the presence of natural elements and the structured landscape around them. Working in series, Margolles explores how contemporary development determines the manner of inhabiting our surroundings, modifies social patterns and determines our relationship with nature.

His work has been exhibited at Museum of Illustration and Modernity MuVIM-Valencia (cat.), Museum of Contemporary Art Vojvodina (cat.) Novi Sad, Serbia (cat.), Museum of Fine Arts Faustino Jorge Bonadeo, Argentina (cat.), La Casa Encendida Madrid (cat.), Space of Creation (ECCO) Cádiz, Luis Adelantado Gallery Valencia, Haskoy Yun Iplik Fabrikasi Istanbul (cat.), Matèria Gallery Roma and Spazio Nea Naples.

His photographic projects have been awarded with the grant VEGAP 16 and Generación 2011-Caja Madrid. Full Contact Prize 16 and Art Photo Bcn 14. Margolles has been nominated for the best Photographic Book of the Year Phoroespaña 15, Plat(t)form 13-Winterthur Fotomuseum and selected for Call Young Artist 14 Luis Adelantado Gallery, for the Sovereign European Art Prize 2011 and the International Art Prize Obra Abierta 2011-Caja Extremadura and the National Youth Art Biennial Rep. Argentina.

He has participated in the International Art Festival Scan 16, Encontros da Imagem 15, Art Photo Bcn 14, Biennial Fotonoviembre 13 and Descubrimientos Photoespaña 12.




TRAVEL TO 52º29´13´´N 13º25´28´´E


TRAVEL TO 52º29´13´´N 13º25´28´´E



António Lucas Soares was born and lives in Porto, Portugal. He is a free-lance photographer since the beginning of the 90's exploring photography as representation and narrative. In 2004 he received the portuguese FNAC first prize for NewTalents in Photography. He published recently the book “Landscape is a Point of view” (Afrontamento and Casa da Galeria pub). He lives virtually in myprivatelight in the skin of the man who wanted to be Bruce Chatwin and also does some unstaged photography in



Where is my position? At what hour I will arrive?

Maybe I am too busy with the coordinates and the places are passing at the speed of a distraction.

Moments that condense themselves. It’s like this to travel in the GPS era. POIs impose and control the discovery of unknown places.

These photographs document a round trip with no particular importance nor symbolism.Way and return in a train, between Berlin and Poznan. Non POIs are registered at an aleatory pace of a look in the GPS navigator. However, the return shows the essence of any voyage: the confrontation with the other.

Landscape is a common place as much in travel as in photography. The will to register moving landscapes is common to both the traveler and the photographer. These photographs come from the two. Here it is the path:


A - 52°15'37"N 15°13'11"E 123Km/h near Toporow 


C - 52°20'14"N 14°25'57"E 145Km/h near Frankfurt Oder





F - 52°20'39"N 14°41'33"E 134Km/h near Gajec 








Jordane Prestrot is a French artist born in 1982. He is involved in photography, music and literature.



I went to South Korea in April 2006, at the invitation of a friend originally from there. His family and friends from Seoul welcomed me warmly. Yet, my stay proved to be difficult.

The totalitarian regime of North Korea gets very bad press back home, but we talk a lot less about the socio-economic model that governs South Korea: a form of ultra-liberal frenzy that indeed allowed this part of the peninsula to extricate itself from the Third World and quickly match the living standards of Western countries; but where the individual, bending under the pace of work and social pressure, is to be alienated - perhaps to the same extent as their northern brother. Add to this frenzy the weight of the traditions, hierarchies and familial obligations to which one must submit gracefully. From the world of work to the privacy of the family, the individual seems to find no respite, save for drinking copious glasses of soju as an escape - and at the risk of ending the night seriously intoxicated and asleep on a sidewalk... Visually, it often results in overcrowded spaces, saturated colors, patterns and information. Incessant crowds, tireless. The stereotype of an anthill - and quite rightly so.

As a French photographer, under these conditions, I felt somewhat battered by this lifestyle, but also full of affection for the brave and friendly Korean people I had met. I was full of admiration for the vitality of this country, once pressed between the Chinese giant and the Japanese giant, and now squeezed between the ghost of a fratricidal war against the North and the real and domineering presence of US troops. I then looked for perspectives… to breathe.

Often the perspectives seemed to be complex or clogged, the breathing difficult, if not melancholic… Be it the Changdeok Palace with a visitor leaning down into a corner, as in reverence to ancestors ; tourists gathered at the Imjin-gak park near the North Korean border, surrounded by soldiers guarding the Freedom Bridge and the Freedom Bell, among other Orwellian festivities ; a pier on the East China Sea that the South Koreans, irritated, refer to as the Yellow Sea ; overloaded  Hankyoreh offices, the only opposition newspaper wishing the reunification of the two Koreas ; or a rainy and early return to Incheon Airport... However, I hope that these images do justice to the finesse and delicacy specific to Korea: with the potential to be a peaceful and refined country - unified, even.


editor's note

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






Georges Salameh is a Sicily based Greek-Lebanese visual storyteller. Born in Beirut on 1st February 1973. After film studies in Paris (1991-1995), he moved to Athens (1997-2005) where he made his first steps in photography & filmmaking. Since 2006 he lives and works from Palermo.


"Refuge Dreamgrove" is a photographic series based on the notion of hospitality. "Your home will be the one where you would put your head to sleep and for a pillow one dreamgrove". These words were pronounced by a prostitute, hosting a scared 12 years old kid. He was one of thousands greek survivors from the "Asia Minor Catastroph" of 1922. To reach Lebanon, he walked barefoot from Smyrna in Turkey, for days, before losing the rest of his family on the road and seek refuge for 4 nights in a brothel in the port area of Beirut. For the rest of his life, this sentence and that city became his haven. That kid was my grandfather, the one I never met. I'm a Sicily based Greek-Lebanese visual storyteller.

Editor´s note

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







Ben Marcin was born in Augsburg, Germany and raised in the United States. He lives and works in Baltimore, MD. Most of his photographic essays explore the idea of home and the passing of time. “Last House Standing” and, “The Camps”, have received wide press both nationally and abroad (The Paris Review, iGnant, La Repubblica, Slate, Wired Magazine). Ben’s photographs have been shown at a number of national galleries and venues including the Delaware Art Museum; The Griffin Museum of Photography in Winchester, MA; The Center For Fine Art Photography in Ft. Collins, CO; The Corden | Potts Gallery in San Francisco and the Houston Center for Photography. “Last House Standing (And Other Stories)” was featured in a 2014 solo exhibit at the C. Grimaldis Gallery in Baltimore, where he is currently represented. His work is also in several important collections including the Baltimore Museum of Art.

The prairie houses in "Out West" were originally built after the Civil War continuing into the early part of the 20th century. During this time, the development of the railroad across this vast expanse, along with a surprisingly decent climate, created something of a farming boom. This all ended with the Dust Bowl of the 1930s, a calamity caused by an unfortunate combination of record droughts and improper farming techniques. The houses I photographed are the remnants of this period in history.

Unlike the row houses of Last House Standing, structures that were originally packed into very dense urban neighborhoods, the houses of Out West were built by people determined to seek a destiny in almost complete isolation. Despite their very different origins, both types of houses would eventually meet the same fate. While the prairie houses and their surrounding environment are remarkably austere, there is also present an almost otherworldly serenity that must have given hope to a landowner now long gone.






Guillaume Amat is a French photographer who is based in Paris. In 2005, he graduated from Art School, with top honors. In 2007 he joined Millennium Images Ltd., Signatures-photographies agency in 2008 and participate to collective project on the French Landscapes called “France(s)  Territoire Liquide”.

Guillaume Amat is dedicated to long-term projects which produce photographic narratives. His field of action is not limited to a single area, never ceasing to question photographic representation and the way to transfigure reality. Aiming to adapt the camera to the subject and the way in which to narrate a story by using different types of cameras, formats and sensible surfaces. With his images he build stories which navigate between documentary and poetry.


In a muffled silence, the sea disappeared, as if vanished, leaving behind only ghosts of stone.
These Blockhaus, remains of World War II, slowly digested by the tides turned out to be threatening places of refuge in the middle of an unexplored desert.

A haunting wind is sweeping along the coast and wrapping distant figures. In the open sea, one could hear the muffled sound of a foghorn very much like the whispering rumbling of life. People seem to get lost in a scenery both quiet and threatening where one gets stifled by the immensity of the landscape.

The project called « Nébuleuse » (Nebula) is part of a reflection on the question of World War II heritage, the French coast and its conservation.
In the form of a photographic proposition, I tried to show how the hand of man and the hand of Nature can mix or be in conflict.

Editor's note

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







Joana Castelo nasceu em 1982 em Aveiro. Vive e trabalha no Porto, onde frequentou o Curso de Tecnologias da Comunicação Audiovisual e concluiu o Mestrado em Comunicação Audiovisual, Fotografia e Cinema Documental, em 2010, no IPP-ESMAE. Tem desenvolvido vários projectos de fotografia documental, nomeadamente sobre o Vietname. Conta com exposições no Museu da Imagem em Braga, KGaleria em Lisboa e Associação cultural Maus-Hábitos no Porto. Em 2012 participou na Residência Artistica da Fundação Robinson em Portalegre e foi um dos fotógrafos emergentes no Projecto Entre Margens - O Douro em Imagens. É professora de fotografia e cinema, fotógrafa freelancer e colaboradora na editora Lovers and Lollypops e no grupo de Fotografia documental ARCHIVO.



"Na cidade de Ho CHi Minh" é um diário fotográfico que reflete a relação entre uma ocidental, a sua família luso-vietnamita e a cidade de Ho Chi Minh. As imagens, íntimas e pessoais, resultam de onze anos de viagens regulares ao Vietname. As ruas de Ho Chi Minh são circuitos diários e habituais. Azul profundoSaltamos no vazio.Puros. Uma vez mais.Acompanhados pelas nossas armas de construção de universo. De mão dada, cada um com a sua música, cada um no seu caminho. Recriamos um outro que nos acompanha; às vezes calado, às vezes ouvinte, às vezes dialogante.Temos medo e fugimos; acreditamos que estamos no sítio certo e prosseguimos. O espaço é feito de camadas de tempos. Coexistentes.

Passados e presentes. Num mesmo plano construído em fragmentos, romanticamente destruído. Belo. O olhar atravessa a face do agora, construído através do rosto mutante do que foi, do que não foi e antevendo silenciosamente o que vai ser.Tens medo? De que me falas tu? Porque é que nos anestesiamos assim? O que é a beleza? Porque é que sentimos tanto?E conhecer um sítio, o que é? É querer voltar muitas vezes sem vontade de aprisionar, transcrevo para o caderno vermelho. E ver as imagens habitadas pelo vazio, com cheiros e palavras em eco, índices de um referente emocional. Autobiográfico, anónimo ou coletivo.






Nick Hannes (Belgium, 1974) graduated from the Royal Academy of Fine Arts in Ghent, Belgium, in 1997. After working as a freelance photojournalist for ten years, he decided to fully concentrate on self-initiated, long term documentary projects. He published 3 books: ‘Red Journey’ (2009, a documentary about transition in the former Soviet Union), ‘Tradities’ (2011, on traditions and party culture in Flanders), and ‘Mediterranean. The Continuity of Man’ (2014, a portrait the Mediterranean region). He is currently working on ‘The Expanding City ‘(worktitle), a project about urban transformation and consumerism in the United Arab Emirates. Since 2008 Hannes teaches documentary photography at KASK / The School of Arts in Ghent.


 “The Pacific may have the most changeless ageless aspect of any ocean, but the Mediterranean Sea celebrates the continuity of man.” (quote by Ernle Bradford)

Rich in history and blessed with a pleasant climat, the Mediterranean is the most popular tourist destination in the world. Over 200 million tourists flock to the Mediterranean beaches every year, putting great pressure on its natural scenery. At the same time the Med functions as an unintentional castle-moat around Fortress Europe. Despite the danger, thousands of desperate immigrants from Africa and Asia continuously attempt to cross the water in shabby boats. From 2010 to 2014, I travelled the length and breadth of the Mediterranean shores, documenting various contemporary issues such as tourism, urbanization and migration in 20 different countries. While I was working on this project, the region continuously hit the headlines: crisis in Greece, the Arab Spring, boat refugees on Lampedusa, wars in Libya, Syria, and Gaza. ‘Mediterranean. The Continuity of Man’ is a caleidoscopic portrait of the region that is considered to be the cradle of civilisation. In my images I try to capture the paradoxes of this region and the spirit of the time. ‘Here, at this crossroads of space and time, where the ancient sea indifferently links or divides people; here, just like in Nick Hannes’ photos, people are coincidental passers-by in the unscrupulous, ever repeating spectacle that we call ‘History’.’ (quote by Michael De Cock).