Una Provincia



This work is a journey into my daily landscape, to smaller places - areas where changes take place slowly and where ties to the past are evident. 

The series is the result of an exploration of the northern area of Lazio, where I was born and where I live. This territory, located on the borders of Rome, has undergone, like many other Italian provinces, many changes over the years, mainly due to the transition from the agricultural model to the industrial one.

The series aims to investigate the characteristic aspects of the places and its transformations creating images in balance between the real landscape and its representation.


Michele Vittori (Roma, Italy, 1980)  is a photographer specialized in landscape documentary photography,  he began studying photography in 2008 attending “Graffiti” school and “Officine Fotografiche” in Rome. 

Since 2015 he has been a contributor for the “Limine” collective, with his photographic series entitled “La montagna di Roma” . The project developed under the supervision of Massimo Siragusa, has been presented at “Officine Fotografiche” and is published in limited edition. 

Since 2017  he has contributed to “Lo stato delle Cose”, a project to document the earthquake of 2016 in the center of Italy.

He is currently continuing his photographic research between Rome and the central Italian Apennines.









5 am. Thousands of seasonal workers leave their ghettos to reach Daunia lands, a district nearby Foggia in South Italy, where they normally spend 12 hours a day working in the fields to fill up an average of 10 to 12 harvest bin of tomatoes. They are paid accordingly to their productivity: € 3 per harvest bin which normally weights 300 Kilos. At the end of the day they get € 36 gross pay, minus the cost for the transport to the fields. They are offered a packed lunch for € 2, 50 for a sandwich and a tuna can. It turns out that agricultural workers in the South of Italy are around 80.000, a number that is constantly increasing. They arrive in Italy to look for accommodation and a job in order to send money to their relatives. They end up becoming enslaved workers with no chance of changing their condition, instead. They emigrate from Morocco, Tunis, Togo, Mali, Burkina Faso, Senegal, Poland, Romania, Albania, to find place in a warehouse in the country side, far from the surrounding cities. They wait there hoping that the farm employers “caporali” call them to work, even for just one day and with no guaranteed salary. Enslaved workers live in strenuous conditions, with no drinkable water, electricity or toilet facilities, forcing them to go outside for their basic needs. They are not provided with health assistance or fundamental civil or labour right. As the warehouse gets overcrowded, many share the same bed sleeping on a mattress or on the floor. With no access to water, they are forced to walk long distances to get the nearest irrigation sites or public fountains.

The “Oro Rosso” (Red Gold) project has been realized in the fields of the small towns of Cerignola, Candela, San Severo. In the Rigno Scalo ghetto, the author met migrants living in unsustainable conditions, social exclusion and vulnerable to violence and intolerance. Migrants packed in wooden barracks, built with reused materials, or in unfinished old colonial houses, where the walls are precarious and partly destroyed. These are their homes, as far from the cultural and social integration ideal as they seem surreal.






Born in Hong Kong in 1992, Chan Hong Yui Clement is currently pursuing a Bachelor of Fine Arts in Photography at Savannah College of Art and Design. Chan connects photography to the larger field of art. He believes that a photograph is not a duplication of reality, but a subjective interpretation of it. In 2014, Chan was selected as the winning candidate of New Light V - an annual program that is organized by Lumenvisum and sponsored by the Hong Kong Arts Development Council to support talented young artists and provide them with an opportunity for a solo exhibition.

Hong Kong is situated on a hilly and mountainous terrain. Because of the lack of natural flat land, Hong Kong simply does not have the prerequisite to be designed into a grid system - a town planning method that is found in many other world cities such as New York. According to the Hong Kong Planning Department, about 47% of the land in Hong Kong lies above 100 mPD. Almost half of Hong Kong therefore has to be built on uplands, resulting in what is commonly known as a multi-level urban design.
Z-Axis aims at documenting the type of multi-level urban design that is shaped by the hilly and mountainous terrain in Hong Kong. Z-Axis, in mathematical terms, refers to the depth of an object in a three-dimensional coordinate system. Looking into the Hong Kong urban landscape along the Z-Axis, one can gain more understanding of (i) how the topographical factor impacts Hong Kong people’s habitation and (ii) to what extent the land has been altered in an attempt to adapt to the natural environment.
Through observing the Z-Axis the interrelationship between factor (i) and (ii) can be visualized and understood.

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






Paul Seawright (born 1965, Belfast, lives Belfast) studied  at Foundation of Art, University of Ulster, Belfast. He took BA on Photography Photography Film and Video - West Surrey College of Art & Design (Tutors Paul Graham and Martin Parr) and a PhD at University of Wales. He is Professor of Photography at the University of Ulster, and was formerly Dean of Newport School of Art, Media and Design at the University of Wales, Newport, United Kingdom. He was awarded a personal chair by the University of Wales in 2001, and is a Fellow of the Royal Photographic Society, Royal Ulster Academy of Arts and Fellow of the Royal Society of Arts. Seawright is a Council member of the Arts Council of Northern Ireland and Vice President of the Royal Ulster Academy of Arts.

Paul Seawright is both an artist and academic within the world of contemporary photography. An accomplished author who has seen his series published and exhibited internationally. His extensive and inspiring work is mostly characterized by an artistic strategy that undermines the obvious and many times depoliticizes images, creating diverse series focused on troubled or conflicting situations that encourage viewers to see and understand those realities in new ways. Many of his projects could be highlighted, and there is a consistent strategy and conceptual framework on his work that can be traced to his earlier series i.e. Sectarian Murder (1988).

Much of Paul Seawright projects i.e. Invisible Cities (2002), Volunteer (2010) and others alike call our attention to the core of many contemporary individual or collective political, social, cultural and economic problematic boarders and boundaries, which seem for many people invisible.

Volunteer is a survey of sorts, photographs from today's fraying, centreless post 9-11 North American cities. Each photograph made at the location of a military recruiting station, where a different battle is being fought – to find young men and women to volunteer for service in Afghanistan. Starting in Texas, the highest recruiting state in the US, Seawright visited over 500 military recruitment offices in fifteen states. These new works comment not just on the ongoing war and the battle to recruit new soldiers, but the contemporary North American city, a landscape littered with thrift stores, gun dealerships, fast food outlets, nightclubs, car dealerships beneath super-sized American flags, strip malls and pawn shops.  It is in these spaces on the margins of small towns and cities that the recruiters look to find the volunteers of tomorrow.
Southern states account for 36 percent of the nation's young adults, according to the Department of Defense, but provide 41 percent of the nation's recruits. Texas is the top state in the South, supplying about 10 percent of military enlistees each year. The services sign up between 280,000 and 300,000 new soldiers, sailors, airmen and Marines annually and, typically have little problem hitting their numbers. In 2010, for the first time, the four largest branches of the armed forces- the Army, Navy, Air Force and Marines, comfortably exceeded their recruiting goals. About 99 percent of enlistees have a high school diploma, and scores on the military entrance exam are the highest in the history of the all-volunteer force. in
 Paul Seawright’s “Volunteer”

A more recent case in point of this is his ongoing project The List (2014), a series that deals with an invisible America: the non-places where those convicted of sexual offences have to live and work. Thus, viewers of Paul Seawright work are first intrigued by his enigmatic imagery and then led to search for the meaning of his series and vantage point discovering the several layers of meaning behind the images.






Jessica Auer is a photographer and visual artist from Montreal. Her work is broadly concerned with the study of cultural sites, focusing on themes that connect place, journey and cultural experience. Auer received her MFA from Concordia University in 2007 and has since exhibited across Canada and abroad. An avid wanderer, she has participated in numerous international artist residencies including The Leighton Artist’s Colony at the Banff Centre in Alberta, The Brucebo Travel Residency based in Gotland, Sweden, The Chilkoot Trail AIR in Alaska and the Yukon Territory and the Skaftfell Centre for Visual Art in Seydisfjördur, Iceland. Jessica currently teaches photography at Concordia University.


For this project, I attempt to de-centralize the tourist’s gaze on the city by traveling along perimeter of Montreal Island, photographing the shores looking outwards. While I escape to the outer edges, towards the horizon, the built environment remains in view. I observe that shores of the island are part-nature, part-culture.
Akin to a pilgrim following an endless trajectory, I used the camera as way to engage in discovery and contemplation. Installed on all four walls of a gallery, these large-scale images place the viewer in a re-contextualized island, simulating my own photographic experience.

editor's note

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






“(…)The idea of progress brings with it several variables that do not always fit with the specific realities of each territory. It is up to each responsible entity(ies) the management of its own territory, through the understanding of its true needs; and depending on future expectations, create a balance between what is offered and what is searched for, and not the opposite.”

Hélder Sousa is a photographer since 2008. After finishing a degree in Plastic Arts-Painting from the Faculty of Fine Arts, University of Oporto, he started exploring photography as an artistic expression. In search of new knowledge, he decides to do a Master degree in Audiovisual Communication, specializing in Film and Documentary Photography at the School of Music and Performing Arts of the Polytechnic Institute of Oporto.

His final Master´s course work is Unfinished Projects, completed in 2012, which focuses on urban development in the municipality of Valongo, on the outskirts of the city of Oporto. Later in that year he participated at the first edition of Project Living in Art, a photography field of study held in Portalegre, sponsored by Robinson Foundation.

Hélder Sousa has an interesting contemporary photography work focused on our territories and how they are transformed and appropriated by man. In between document and fiction, as there is a strong aestheticization of the territory and its contradiction, in “Unfinished Projects”, a new visibility is given to the ghost neighborhoods of the Valongo County. These non places, which are not only the result of the economic and financial crisis caused by subprime, but also of the failure of a social state unable to regulate the savage and predatory capitalism of real estate speculation.

The exposure and questioning allowed by the documental side of “Unfinished Projects” are heightened by the plastic options and visual grammar displayed in the images of this series. In other words, the imagery created to reveal and explore these wrecks, these architectures of entropy – which are in fact fake ruins, because they were never inhabited, as well as metaphors for failed life expectations, for broken promises – is an artistic strategy to reinforce the documentary.

Pedro Leão e Maria Neto






Sergio Camplone studied photography at “c.f.p. Riccardo Bauer” in Milan. Among his more recent projects, there are “Anagrafe del danno” cured by Fuorivista and Confotografia. “Breviario di un paesaggio incompleto”, cured by Calamita/à, about Vajont area, 50 years after the landslide. “For the use of hyperimages”, with Saverio Cantori, cured by Antonello Frongia. He worked for the European project “Bridges of History and Tradition”, mapping out Southern Italy bridges, together with Greece. With Architecture Department of Matera University, he follows the Re-Cycle activity, about spatial and social backgrounds of postwar small villages and neighborhoods, with the project “Una questione meridionale”, ongoing. His attention is mainly addressed to the identity of places vulnerable to gradual mutations and modifications, and he uses different kind of narration, connecting territory unavoidable alterations made by the men, with their ability of transforming the landscape, and be landscape themselves.

The action that the man has fulfilled “to build” the landscape, moving it over and over again from a naturality condition to a growing artificiality condition, in any historical era, has brought the man to overlay above the order of nature his mental order, causing a great complexity that we know exist on every its shape. And it was the human gaze at do even a wild landscape a cultural object, the human experience it allows to live it like wild, to shape the its image and its meaning through the filter of the culture and the history.







Uma linha que se desenha na paisagem através do tempo. Uma linha que revela diferentes tempos, expostos, neste percurso, em simultâneo. Uma linha, um percurso que é também um rasto da passagem humana. Um rasto feito de marcas da atividade humana, umas mais evidentes, outras quase indeléveis no modo como a paisagem se transforma. As imagens resultantes desta pesquisa são a evidência material de um percurso físico realizado pela autora, entre Famalicão e a Póvoa de Varzim. No seu conjunto resultam numa sequenciação que sugere esse movimento compassado, focado, orientado – num enquadramento em que o ato de caminhar é colocado no centro da imagem. O que decide este enquadramento? Parecem concorrer dois aspetos distintos: por um lado o modo como esta paisagem foi construída enquanto linha ferroviária, e por outro o movimento que o nosso corpo descreve nela. Alguns desvios, relativamente a este movimento direcionado, dão-nos a ver detalhes desta paisagem que, à direita e à esquerda do percurso, revelam a sua dimensão temporal.

É um trabalho que se desenvolve em torno da perceção e da representação deste território tão particular do concelho da Póvoa de Varzim. Uma paisagem que permanentemente sedimenta as marcas milenares da presença humana.

Diapositivos cor 35mm

Projeção de dimensões variáveis

Nota: O projeto Uma linha na paisagem foi apresentado na exposição Póvoa de Varzim, Frames da cidade e outras estórias invisíveis, no espaço A Filantrópica, de 28 JUL a 30 SET 2017. Por ocasião desta exposição é editado catálogo com o mesmo título, onde o projeto é igualmente publicado.


Sobre o autor

Sofia Santos (Porto, 1985) artista e educadora, licenciada em Artes plásticas – Pintura (2007), foi bolseira na Academia di Belli Arti di Brera, em Milão (2006). Mestre em Arte e Design para o Espaço Público (2009) pela Faculdade de Belas Artes da Universidade do Porto. O seu contínuo interesse pela imagem leva-a a desenvolver mais recentemente estudos em Cinema e Fotografia Documental (2017), pela Escola Superior de Media e Artes e Design, do IPP. Colabora com diversos artistas e arquitetos, e participa em diversas exposições desde 2007. Mantém desde 2008, uma relação de coautoria, com a artista Joana Nascimento, motivada pelo questionamento de conceitos partilhados no trabalho de ambas – paisagem, identidade, memória e tempo são alguns dos conceitos explorados. Estes conceitos permitem ainda identificar um constante cruzamento entre a prática artística e a investigação prática em projetos de carácter educativo. Desde 2010, colabora com o Serviço Educativo de várias entidades, (CIAJ, BOA- Bombarda Oficinas de Artes), na conceção e orientação de atividades dos seus diversos programas, destacando-se a colaboração com o Museu de Arte Contemporânea de Serralves pela continuidade e consistência dos processos pedagógicos experimentados.






João Gigante, was born in Viana do Castelo whose course, after having graduated in Fine Arts from the FBAUP (Oporto), has maintained  the experience of fine arts, having exposed his work in several major exhibitions in the national and international art scene,  the practice of production and organization of events and artistic projects, such as the coordination of the Department of Fine Arts of AISCA , Viana do Castelo, the direction of the magazine Parasita (with Hugo Soares), the project Arame (Sound Design) and the projection and organization of social and ethnographic  projects, maintaining their artistic and conceptual features.

Their work complements the different areas of fine arts performance, such as installation, photography, video, sound design and drawing.

Currently he is obtaining a Masters degree  in Audiovisual Communication at  the Escola Superior de Música, Artes e Espectáculo of the IPP (Instituto Politécnico do Porto).


 “Um lugar que se desenha”: a visual essay on the territory and its demographic and organizational particularities. The clay soccer fields are part of an imagery construction. Uneasy is the field-to-field variation, the football goal as a hinge, as the support in the perception of this place mutation. In other words, all these places with similar functions, earn characteristics both specific and disparate. These variations and landscape changes reflect the author’s path in site.

To find, to archive and to select. The images resulting from this study are framed by the presence of a central rectangle (football goal), giving shape to the construction and sequencing of the photographed places. The images are drawn by this space’s already existing framework: who decides the framework? The author or the form? This duality is key to the perception of the presented photographic structure. The abstraction towards the representation of a particular territory. A work around the pathways of the place as a means of perception and representation of it.






Scott Conarroe (b.1974) is a Canadian photographer based in Zurich. His studies of landscape and the built environment look at the present within a sweep of history.  His recent book By Rail and By Sea describes North American civilization along its rail infrastructure and its coastline perimeter. In 2013 he received a Guggenheim Foundation Fellowship to photograph the moveable borders Alps nations devised in response to permafrost melt and watershed drift.
Scott has an MFA from the Nova Scotia College of Art and Design and is occasional faculty at Emily Carr University of Art and Design.  He is represented by Stephen Bulger Gallery.


"The Great Eastern" looks at China against the backdrop of high-speed rail expansion.  Rivalled only by the scope of America’s Interstate Highway System, this massive public works project is designed to bring the far-flung backwaters of the world’s most populist nation into the 21st century.  These photographs are about human-scale lives playing out alongside such grandiose dramas.

author's note
Note: Support from the Canada Council for the Arts and TIME Magazine made "The Great Eastern" possible.






My work is focused in my physical environment, whatever be urban or natural. It is essential for me to be able to investigate this environment because I consider it a key for know better ourselves as society and, thus, myself.
I think it is important to know where you move daily and why your surroundings are like that and what kind of importance have them for your own life, your social relationships, your way of thinking or for your own identity. For all this reasons I’m interested in our environment, I’m interested in the way it affects us and in the way it marks us. I’m interested in the way it is used, for what and why, whatever be seen in a public point of view or in a private point of view. I believe that the environment determine us, but we are who build it, who decides to use it in a certain way or who leaves ourselves in what these environment propose. Our near and quotidian surroundings are both built and imposed.
For these reasons I believe in the importance of investigate our surroundings. They are a reflection of us, as individuals and as society. And, thus it, is how ourselves can be seen, how we can see our fears, actions or uses. I think is the best way to know better ourselves: through our track into our own territory, whatever it be physical or cultural or emotional.
My work method always begins with a key question: “why”. Through it, is developed all the investigation of the photographic subject, as well in the conceptual way and in the visual way. This question is complemented with another of how, for what, in what sense, why this way, … so I can get a complete vision of the environment that I’m working.
After that I have to feel this environment in first person, which cost some time, but it is essential in order to get of them all what can be give. The method is simple: walk, walk and walk. I think is the best way of realise how is the environment and appreciate it, so you can talk about the atmosphere, of what is heard, how it smells and, then, you can feel more intensely what you could see. For me, walking through these places is essential in order to talk properly of them through images.
On the other side, being a graduate in History of Art helps me to ask the point question, helps me in the search of a new points of view and helps me to appreciate the pictures can be done. The Photography, in addition, works for me not only as a language or as a tool, but as a way of being, of life and to see the world. For me it is not a job, it is my way of life, my way of being. I can’t understand the world without a camera, without being able to take photos. Even, it is therapeutic for me, because through the pictures I can understand better our environment, our society and myself as a human being.

Ricardo Dominguez Alcaraz

the Great Escape talks about you, about me, about us as a human beings. Talks about our past, present and future. Talks about our fears and hopes, about the absences, about the melancholy, about your life and what to do with it. Talks about the need of find a way, about the need of find the serenity.
They are pictures of yourself in front the need to be yourself. They are pictures of questions that require an answer. They are pictures of your own life, of your own soul.
They are pictures where you, simply, are.







This series evolved from driving alone for thousands of miles in the American Southwest over the last few years. Here I noticed how the scarcity of the natural element makes human interventions particularly evident.  

I explore our relationship with the perceived natural environment: 'nature' is not the ideal postcard void of human presence, but more realistically the 'outdoor' views we experience when moving from one place to another. This new modern landscape cannot be separated from human constructs. Epitomized by 'the road'; freeways, overpasses, vehicles, ads, poles, and signs are what we truly experience. We look at them every day and yet we choose not to see them. We experience them without acknowledging them. And in so doing, we perpetuate our disconnect: nature as something external, to exploit, and at our service. We work against nature instead of within it.


About the author:

Nicolò Sertorio (1968, Princeton NJ USA) is an internationally exhibited artist with over 15 years of experience in visual storytelling.  

Sertorio works in fine art and commercial photography, mixed media, collaboration, and conceptual art. His photos directly respond to the surrounding environment by emphasizing aesthetics and everyday experiences. Sometimes radiating a latent violence, these photographs show through their disconcerting beauty multiple layers of meaning. With his conceptual approach, Nicolò Sertorio investigates the dynamics of 'landscape' and how we relate to the environment around us based on cultural and social assumptions.  

In past years he has lived for long periods of time in Italy, Switzerland, Ireland, Belgium, India, Germany and United States. Sertorio has thus a cosmopolitan understanding of contemporary issues that makes his perspective unique.  

Sertorio's work has won several important awards, including American Photography 33+32+30+29, International Color Awards 2016-15-14-13, International Landscape Photographer of the Year top 101, Prix de la Photo Paris, PDN Photo of the Day, The Center for Fine Art Photography 'Portfolio ShowCase 6', Photo Week DC International Awards, among others.  

His work has been featured in Wired Magazine, LensCulture, Kontura Art (Croatia), Domus, AdWeek, Fraction, Time, Curator, Format, Nacional (Croatia), Fast Company, Feature Shoot, Google ChromeCast, AIGA, Wacom, ViewFind, and many more.  

In 2017 and 2015 Nicolò Sertorio was recognized and selected as Critical Mass Top 50. In 2016, solo exhibitions traveled across US (Philadelphia) and Croatia (Koprivnica Art Gallery, Split Diocletian Palace, Virovitica Castle) museums.

Sertorio's works tell a story about the effects of the interaction between self and others. His series are notable for their conceptual nature and the grand humanistic themes in his approach.  

Nicolò Sertorio currently lives and works in Oakland (CA), USA. He is board member for PhotoAlliance.

Site: http://nicolosertorio.com







"Chacado - ap.m.ant., de (Xahâda) "Testemunho (da fé islâmica)"  

Adalberto Alves, Dicionário de Arabismos da Língua Portuguesa - Imprensa Nacional, Casa da Moeda, Instituto Camões  

Vivi 4 anos na Arábia Saudita. Estas 14 imagens testemunham alguns dos elementos fundamentais da cultura, história e território saudita. Os seus erros e suas mudanças.     

Não são um julgamento fotográfico, mas sim um relato duma fé que esconde as suas contradições. O deslizar e levantar do véu é reclamado por uma nova abordagem na elevação da cultura saudita, livre das restrições interpretadas no livro sagrado.    

Estas imagens simbolizam uma vivência de alguém que aprendeu a observar através da sua máquina fotográfica a singularidade de uma nação, através dos elementos visíveis e invisíveis, que marcam a sua cultura, história e território.    

Nestas 14 imagens o testemunho da solidão é tão presente como a fé para uma nova abordagem.        

Adriano Pimenta                      

Porto, 26 de Fevereiro de 2018


About the author

Adriano Pimenta nasce no Porto em 1968. Estuda Arquitetura na Universidade do Porto tendo-se graduado em 1994. Trabalha entre 1992 / 2007 no gabinete do Arquiteto Souto de Moura. Em 2007 funda o seu escritório Adriano Pimenta Arquitetos Lda. Entre 2013 e 2017 vive em Riade, Arábia Saudita, onde trabalha como consultor para a Linha 1/2 & 3 no desenvolvimento do projeto e construção do Metro de Riade.

Em Maio de 2011 é convidado a integrar a revista multimédia Flânerie no 2, editado pela fotografa Susana Paiva, com o trabalho em telemóvel intitulado “IntantI” para o capitulo “Lomoville | Life throught Plastic Lenses”. Em Dezembro de 2015 ganha o 1.º prémio na 6ª edição do Art Jameel Photography Award (AJPA), uma competição fotográfica envolvendo os países parte do Médio Oriente e com a orientação de descobrir fotógrafos emergentes. Em 21 de Março de 2017 publica na revista multimédia norte americana Bosco Magazine. Em Maio de 2017 é escolhido para ser parte integrante da revista “Not For Print, Issue 2” sob o tema “Resist” integrante na plataforma digital ELLO e patrocinado pela empresa Holandesa WeTransfer. Em Janeiro de 2018 é parte de uma exposição coletiva no Dubai “Saudi Seen”, uma nova geração de fotógrafos presentes no Reino da Arabia Saudita pelo Project Space Art Jameel. Em Janeiro de 2018 recebe a Menção Honrosa no Prémio FNAC, Novos Talentos 2017.






Ana Borges nasceu em 1987 no Porto, Portugal, onde vive e trabalha.
Em 2010 terminou a licenciatura em Pintura - Artes-Plásticas pela Faculdade de Belas Artes da Universidade do Porto.
Atualmente encontra-se a concluir o Curso Profissional de Fotografia no Instituto Português de Fotografia do Porto.


Terrain Vague, conceito que nomeia este trabalho, define, pelas palavras de Ignasi de Solà-Morales, espaços expectantes, (...) mais ou menos indefinidos nas periferias difusas. São manchas de “não-cidade”, espaços ausentes, ignorados ou caídos em desuso, alheios ou sobreviventes a quaisquer sistemas estruturantes do território.(1)
As ruas e estradas fotografadas são o arranque de novas infraestruturas, espaços de expectativa, são também, lugares de ambiguidade e de indeterminação, de instabilidade e de incerteza que apenas garantem a metamorfose, em infinitas possibilidades, da malha urbana.
Este trabalho pretende representar uma espécie de “Outro" da cidade onde se questiona, através do distanciamento, um processo de apropriação acrítico. Estas imagens procuram colocar o indivíduo/espectador num espaço, físico e mental, cujo modo de percepção vai passar além dos limites desse mesmo espaço, criando uma oportunidade de alternância, de utopia, de distância para a contemplação, que não deixa de ser parte integrante da cidade. Procura uma compreensão do espaço urbano como um território vivo, em metamorfose, que responde e respira a diferentes estímulos. Estas ruas e estradas são como o repertório do potencial, do hipotético, do que não é nem foi nem talvez seja alguma vez, mas que poderia (ou pode ainda) ser.(2)

(1) Ignasi de Solà-Morales in "Terrain Vague" in "Anyplaces", 1995
(2) Italo Calvino in "Visibilidade" in "Seis Propostas para o Novo Milénio", 1988 (a expressão entre parêntesis - ou pode ainda? - não pertence ao texto original)






Teedoff is a photography series communicating the intimate relationship I was able to establish with Ireland in a recent trip. As I explored the country, I could feel the pulse and rhythm of the whole landscape in a much significant way and with an enormous intensity. The train journey enabled me to be immersed and enthralled by the immensity of Ireland´s East and West territory, something that helped me to capture its essence. The spontaneous and surprising nature of the photographs in this project mirrors the passion to know these spaces and of how they became vital inside me in an urgent way. Thus, the spectator is invited to travel in a deep and enigmatic way through the rivers, cliffs and architecture in a space covered by mysteries and ancient traditions where all the elements suggest a necessity to create a story.

About the author
Artur Leão was born in Porto 1997,graduating at Esap on the  course of Artes Visuais Fotografia. First collective, exhibition July 2017 in Esap. Three Photobooks accomplished. Video Clip created for Benthik Zone.









Elise Boularan is a photographer born 1984, Narbonne, France who has a Master’s degree in Creation and Artistic Research from the University of Toulouse, having studied photography at the Toulouse School of Photography.

Pursuing a career as a photographic artist, her work is extraordinarily powerful for its calm and enigmatic aesthetics. Time seems to stop with her images and there is a powerful rhythm on her series that draws our attention for its profound interiority and quietness. The work of Elise tries to respond in an enchanting way to life´s secrets, creating photographs that allow for truth to appear as a process of emotion and thought.

She has been published extensively and has exhibited in Europe and the USA, notably in Madrid, Denmark, and New York, as well as the French Institute of Ukraine, The Museum of New Art (Mona) and The Russell Industrial Center (Mona Detroit) in Detroit; the Instituto Cultural de México, San Antonio, Texas Hill Country, Usa. Her work is in several private collections.

Her preoccupations concern the human reality of our time, trying to reveal what can be secret at the individual’s as in the works Rose Coquillage, Vapors or Ça reste. With Boulard´s photographic series the viewer is constantly trying to find the meaning of the juxtaposed images, as well as the poetical relation between the series and the titles.

Around My Legs and Désœuvre(ment) seem series more related with space, architecture and territory. The non-spaces of Auge (Désœuvre(ment) and then the way the territory is punctuated by man´s constructions and infrastructure that have an economic and cultural logic that confronts nature (Around My Legs) are also powerfull aesthetic visual narratives of contemporanity and its contradictions.


Pedro Leão Neto






Sérgio Rolando studied in IPF, holds a degree in Audiovisual Communication and a Master degree in Documental Photography and Cinema by Polytechnic Institute of Porto, ESMAE in Portugal. He is currently working as a freelance photographer and Documentary Photography lecturer in Polytechnic Institute of Porto, ESMAE.

He exhibits on a regular basis and has a great deal of published work. Is much focused on our territories and how they are transformed and appropriated. Between document and fiction, the work of this author gives us a mapping of contemporary life governed by technology, political and economic forces, and how territories are transformed and appropriated by man.

Sérgio Rolando’s “Planalto Barrosão” puts into question the traditional idea of the protected rural landscape of the Barrosão Plateau, while this territory emerges as a cultural (un)built space, permeated by a set of conflicting transformations. The conflict between identity, heritage and protected rural landscape is a challenge that Sérgio presents through images that reveal various infrastructures that tear the landscape apart, and many built elements – unfinished buildings and other architectures – representative of our concrete-made economy and our culture of blindly importing models. Sérgio also adopts an artistic strategy that draws attention to the conflicts of nature and the destruction/transformation of the environment by man, choosing viewpoints and patterns that reinforce the visual and abstract qualities of these landscapes.

Pedro Leão

Maria Neto