Quel Pedra (That Stone)

16 – 31 December 2017

2014 + 2016

There is a legend in Mindelo, in the island of São Vicente, which says that those who sit on a specific stone in the neighborhood of Font Flip, will became gay. It was in this neighborhood that I met Steffy and seven of his friends: Edinha, Gi, Elton, Sindji, Susy, Henio and Jason. These boys, aged between seventeen and twenty-five years are transgender, in as much that they like to wear women`s clothing, make up, and to be called by women’s names. Faced by this specific situation in Cape Verde, and the significance of this stone, I decided to entitle this work “Quel Pedra”, which is Creole for “That Stone”.

There is a high degree of intolerance towards homosexuals in many African countries, in some cases motivated by religious beliefs, others out of ignorance. Many Africans are forced to immigrate to Europe due to their inability to live their sexuality freely. Sexual relations between persons of the same sex were only legalized in 2004 in Cape Verde. Until then, it was a crime to have a homosexual relationship. In twelve years, the law has changed, but the discrimination persists. In 2013, a year before I met this group of friends, the first Gay Parade was held in Mindelo.

Given these facts, I was interested in living in this community, in order to understand their dreams, frustrations, hopes and fears. Where their courage and attitude came from. I was with them in two separate moments; one in late 2014 and in March 2016. It was interesting to see how much has changed in the lives of these Cape Verdian youngsters, and in what manner.

The idea of this work is to confront the viewer with their own prejudices, challenging the conventions and standards concerning the identity of the human being. Simone de Beauvoir once said: “One is not born, but rather becomes, a woman”, perhaps the aim of this work is to unveil what it means to be woman today.



Pauliana Valente Pimentel was born in Lisbon in 1975, the city where she still lives but she is working all around the world. As an artist and a freelance photographer she has been producing photo reportages since 1999 for various Portuguese and foreign magazines and newspapers.

In 2005 she took part in the photography course of the Gulbenkian Creativity and Artistic Creation Program. She was member of the Kameraphoto collective from 2006 until its extinction in 2014, and a founding member of the N’WE collective in 2016. Besides her participation in collectively authored books, she produced her own first book “VOL I” in 2009, published by Pierre Von Kleist and “Caucase, Souvenirs de Voyage” in 2011 by Calouste Gulbenkian Foundation.

Filmography: “Diz-se que Portugal é um bom país para se viver”, 40 min, Portugal 2011; “Jovens de Atenas / Youth of Athens”, 13 min. Athens, Greece, 2012; “Entre Nous”, 51 min. Portugal, France, 2014.

In 2015 she won the prize for the best photographic work of the year by the Portuguese Author Society and in 2016 she was nominee for the Novo Banco prize, the most important prize in Portugal for contemporary photography. She did already several exhibitions in Europe – Portugal, Spain, Italy, England, Germany, Greece, but also outside such as EUA, Turkey, China and Africa (Morocco, and Cape Vert). She was represented for five years by Galeria 3+1 Arte Contemporanea in Chiado and seven years by Galeria das Salgadeiras, in Lisbon. Nowadays she collaborates with several galleries in Europe and part of her work belongs to private and institutional collections.




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8 – 22 December 2017


The state or process of being or becoming degenerate; decline or deterioration: overgrazing has caused serious degeneration of grassland.

The objective of Degeneration was to take a critical look at the state of housing and regeneration in the 21st Century, and the implications and complex nuances this may have on some of the poorest in society, reliant upon social housing. After several decades of neglect, consecutive governments have overseen the gradual demise and disappearance of social housing, due to “Right To Buy” and a lack of new housing stock built, arguably fuelling the necessity to own rather than let that has instigated the artificial inflation of the housing market. This opens up many questions as to why this was allowed to happen, has fuelled the rise in homelessness and poverty and left the majority of people living in social housing trapped in so called “sink estates”.

The work was made in collaboration with the photography Collective Human Endeavour, each photographer choose different areas of Britain to investigate. For my part I concentrated mainly on areas in Glasgow, Edinburgh, Sheffield, Birmingham, Bristol and Portsmouth.



Richard Chivers is a Documentary photographer based in Brighton, United Kingdom.

Richard’s work looks at Britain’s shifting landscape and how it is shaped and re-shaped over time. He has received several Arts Council awards to make, curate and exhibit his work, exhibiting across the UK and Internationally. He was an original member of the Human Endeavour Photography Collective and is now a recent member of the Map6 collective. Map6 have recently completed a project capturing Milton Keynes to celebrate its 50th Anniversary.




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Made of the Sun

1 — 15 December 2017



Sicily… an island where families sit in circles on their doorsteps, intently relying stories of their dreams and misfortunes. An island where even the sandstone remains mute and dull, refusing to give up the deepest of her secrets. She is an island full of shadows, knowing no peace… with light so intensely blinding it simultaneously pulls us in and pushes us away like an absurd paradox; life and death together.

Here is Sicily, where children catch fish with their hands and women walk about in mourning dresses, where dusty paper Madonnas and Saints peer out from the windows, symbolizing memories of a time gone by.

On the way to San Vito lo Capo, near Trapani, is a chapel dedicated to Saint Crescenzia. Legend tells of landslides that occurred as punishments for conversions that never happened. But just as a landslide was about to overwhelm the chapel, it halted, thus removing Fear. Even today, faithful followers honor the tradition of throwing stones into the chapel to exorcise ‘U Scantu, the Fear!

Sicily… with a district named Landslide; and valleys named Hanged Man, Peak of the Devil, and even Demon Valley; where in Palermo you can stroll down Death Lane.

Michele’s pictures move in this moonlight panorama as his steps lighten and become faster. They move in the tracks of cattle, in old abandoned factories, in places once swarming with life, today small silent worlds.

Anchoring the so called modern progressive cities is senseless violence. Real growth never came to Sicily and without growth there is no progress. And so this complex island continues to live in exile, compared to the rest of the nation. For this, everyone shares in the guilt. The perception is one of exile, with the sea an insuperable barrier, instead of the guardian of future promise. In this walls-era the sea is the supreme king. The diaspora of migrants come from the sea, and from the sea people leave their homes to look for a better life.

Sicily… a land of paradox, where some arrive searching for luck and others run away because of bad luck.

Where is the human being in Michele’s pictures?

You perceive his smell, feel his presence, perhaps behind windows of lowly houses on any street in any country, perhaps with an inane program blaring from the TV, or resting among the cool damp walls at midday. Old crocks and Vespas on the edge of a road, roulottes in the desert…

Michele seems to arrive a moment later, when everything has already happened. This makes his images magnetic, what has not been said.

Francesco Faraci
November 2017



Born and living in Rome area, Michele Vittori starting from visual arts passion approached the photography in 2008 by attending technical courses at the “Graffiti” school and workshop at “Officine Fotografiche” in Rome. Throughout the early works he found a special attraction in the landscape photography documentation, that has led him to produce various photographic series related to the territory. Since 2015 he take part as contributor at “Limine” collective, by through his photographic series called “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 take part as contributor at “Lo stato delle Cose”, a project to document the earthquake of 2016 in the center Italy.




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Terra Drama

23 November – 7 December 2017


The “Terra Drama” project is about landscapes that surround me in terms of geographic proximity, which are not always there, waiting for my camera to capture them. They are constantly redefined, always reminding me their incomplete significance and their lack of perception, both in the “time” of the photographic time and in each new constructed present. That’s why – the landscapes on the outskirts of the city that I was born and live – is the topic i use to talk about for issues that concern me, the subtle vibrations of the places and the hidden secret of a point of time that will not repeat. In “Terra Drama” project the time, every timeworn, diffuses all the embellishments, adds, reveals and does not deform. And that’s what I’m trying to emotionally recognize, looking at each place in its individual parts.



Born in Drama in 1982, a city in northern Greece, where he lives and works. He studied Business Administration in Kavala. Got into photography in 2006 and since then have attended many seminars of photography and have participated in group exhibitions as well. In 2017 Kyriakos Michailidis was selected to exhibited at Athens Photo Festival with Young Greek Photographers 2017 at Benaki Museum.




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Connecting Flows

16 – 30 November 2017

2015 – 2017

When I started taking these pictures about 2 years ago, I did not have a specific project in mind. I just tried to capture things that felt relevant to me in some way. As time has passed this body of work feels more coherent to my eyes. The notion of a “natural flow”, of an inner connection with the world, that I experience whilst making photographs, seems to be expressed in my pictures as well. Although the subjects are various and the places are different, I seem to always look for the same inner space, where these feelings are present. This is why I call this body of work “Connecting Flows”. For me, the place where these natural flows connect is a place where magic happens.

I see a lot of photography and sincerely enjoy the work of many photographers, but my influences can come from any kind of art, nature or from other people. A look, a real moment with someone you know or don’t know, this precious intimacy… it can all be very influential to me. Being open to life. That is what motivates my work.



I was born in 1975 in Greece. I have studied civil engineering, and I work as an engineer. Photography entered my life in 2011. Since then, not a day has passed without photographs, in one way or another. I love stories, I love pictures.




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L’inachevé (The Unfinished)

8 – 22 November 2017

2012 – 2015

Since the collapse of the Soviet Union, Armenia has been making the transition between the old order and a new political project that has yet to be achieved. With difficulty, another model is taking shape, one that remains impossible to define, as its form is continually shifting while the hardships facing the country are numerous. Two decades have passed and the country is still evolving on the sidelines, according to its own rules, and in its own time.

Contemporary Armenia is outside the flow of images, and illustrations of this young republic’s development are lacking, absent or even hidden. However, the issues affecting the territory of Armenia are in many ways indicative of the challenges of our time: how to reconstruct after the breakup of a union? How to develop a narrative for this new state without denying its history?

With the reappearance of its borders has come the need for 70 years of regional planning and political and economic organisation to be thought out anew amid conflict and isolation. Vestiges of the soviet era remain in this country of pastoral tradition, where everything goes on without anything definitive coming about. The environment is changing, but the present is sidestepped through the people’s aspirations for a more promising future.

Image by image, L’inachevé provides a visual investigation within a land immersed in waiting, as if in suspension. The captured spaces have the poetry of the unaccomplished, even unresolved, and they reflect an environment in search of a new definition. They comprise the scenery of a play that is to be performed, but according to uncertain timing. Rather than documenting the current situation, these photographs are directed towards history that has yet to be made and its prospects for renewal.

Through the demonstration of a theatrical dimension of reality, they question the possibilities of revival for this young republic, which is inexorably being emptied of its inhabitants. In this context, space becomes the mirror of a people’s struggle to recover their territory, and can be seen in the photographs of L’inachevé as bearing witness to memory in the course of its taking form.



Having graduated with a Masters in Ethnology, Julien Lombardi is an artist who uses photography as a tool of field research and visual investigation.

His work gained widespread exposure when he was awarded the Bourse du Talent in 2009 for his series Artefact. This work of nocturnal exploration probes rural space and is based on a collection of objects freed from their utility. Several prints from this series are included in private and public collections (BNF, Artothèque Départementale du Lot, Pôle photographique Le Château d’Eau).

Since then, his work has been exhibited regularly in galleries, festivals and art centres in France and abroad. The series Dérive, created in 2010, deals with the concepts of décor and artifice and shows the city as a scenographic space without use. Presented at Photo España, the Salon Jeune Création and Festival Itinéraires des Photographes Voyageurs, this work has also been exhibited in the gallery See Studio and the gallery Djeziri-bonn / Linard editions.

In 2013, Julien Lombardi participated in Art-o-rama, International Fair of Contemporary Art with his series Processing Landscape, which questions the making of images without references to reality. He completed this research in 2014 by exhibiting at the gallery Lhoste Art Contemporain in Arles, then at the Centre d’Art Contemporain Photographique in Niort in 2016.

Between 2012 and 2015, he began a project of documentary research in Armenia in the context of Hors Les Murs, the residency programme of the Institut Français. In this work, he explores the theme of the unfinished to deal with this young republic in the course of its formation. The series L’inachevé [Unfinished] was awarded the Marco Pesaresi Award in 2015, and then the Kaunas Photo Star Award and Prix Maison Blanche in 2016. It has been the subject of numerous publications (Spiegel Online, The Eyes #6, Il Post, Aint-bad Magazine, The Calvert Journal, Paper Journal) and was exhibited in 2016 at Festival Circulation(s), the Athens Photo Festival and Krakow Photomonth. In 2017, L’inachevé is to be published by Le Bec en l’Air editions.

His most recent work, EgoTour, analyses the impact of the tourism industry on our societies and our representations of elsewhere, by investigating the site of the Giza Pyramids. This work was exhibited for the first time at the gallery Lhoste Art Contemporain during the 2016 Rencontres d’Arles and is to be shown soon at Topographie de l’Art in Paris, alongside works by Joan Fontcuberta, Alain Fleischer, Laurent Millet and Eric Rondepierre.




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The World Knows Us, Because We Kill Lions

1 – 15 November 2017


The Last Maasais

When out of their territories, Maasais identify each other through little details on the person, often times a bead bracelet or a missing front tooth. These serve as a form of identification, and can be seen as a beacon in a country where they find themselves the minority and see their land ownership being more and more contested.

Namuncha is a Maasai community in Kenya, it is located at the edge of the Maasai territory, and its members sometimes refer to themselves as the last Maasais. This little joke has a bitter sweet taste, bearing the ominous prophecy of their disappearance, the relegation of their traditions to something solely picturesque.

I first spent some time in Namuncha eight years ago, to provide images to serve for their increasing desire to welcome tourists in the community and participate in the country’s first economy. I gathered some footage and photographs. I went back in 2016 with the purpose to create a multimedia project including a feature length documentary and a photographic story. The aim of this project is to provide representation for the ordinary, the everyday, among a radically different culture, culture that is known in the world for its colorful and exotic traditions.

My project deals with the mundanities of Maasai life, with a culture that is shaped around their own concept of time. They are a chanting people living a quiet life, a fleeting culture under the pressure of globalization. The apparent peacefulness bears the presence of a struggle, a struggle rooted in history, culture and economics, a silent ongoing threat.



Adrien Blondel was born and grew up in Normandy, France. He moved to Paris where he studied and graduated in history of cinema and cinematography. His first feature documentary film project brought him to the US, where he came back to live in San Francisco. Adrien works as a lighting technician and a camera operator for the film industry. He recently finished the shooting of his second feature documentary, set in a Maasai community in Kenya.

In search for more creative output than his work provides, Adrien started developing his photography practice a few years ago. His work is highly influenced by the experience of living abroad, and deals with memory, the notion of home and a cultural view of his surroundings.




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Lost in Tunis

23 October – 7 November 2017




Claudia Corrent (b. in 1980) is a freelance photographer based in Bolzano, Italy. 
After a graduation in Philosophy at the University of Trento, she approached photography through several workshops and courses. Her work was exhibited in Milan, Rome, San Francisco, Genoa.. Her images have been published in , Der Spiegel, Courrier International, Il Post, Corriere della Sera. She’s interested in storytelling especially related to anthropological and social issues and the relationship between people and the environment. She is represented by LUZphoto.




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Wuhan Boulevard

16 – 31 October 2017


Wuhan Boulevard is an invitation to a journey through a city in progress where time stands still. A journey through an elevated urban railway located in the capital of Hubei province traversed by the Yangtze River: Wuhan. Consciously or unconsciously, deliberately or unthinkingly, the focus on a specific mode of transportation is of particular interest. Wuhan is indeed a major transport and logistic hub connecting key provinces in China, notably thanks to its port. Yet the usual watery landscapes that surround the city are not the focal point of this visual journey. Wuhan Boulevard is in truth one of the stops of the metro line one Zanoni has used to travel across the city. Immediately struck by this appellation, the artist chooses it while thumbing his nose at the fantasy about the Western famous boulevards, such as the Sunset Boulevard: the legendary route to fame and success in Los Angeles. But here the glamour and the density have turned into a rather unsettling and abandoned urban environment. Here we embark on a train that leads to an infinite landscape made of concrete and empty skyscrapers, an endless road towards unceasing urbanization.

Wuhan Boulevard seizes non-places, in other words transitional spaces which are supposed to be crossed. Probing into social commentary, the series reifies the notion of unqualified city. It allows us to look behind giant advertising panels, unveiling a dreamt city struggling to be completed, a city made of brand-new skycrapers that cohabit with old crumbling housing, a city built to welcome more inhabitants while excluding others. In fact Wuhan is the most populous city in Central China, but it seems its inhabitants have been discarded from these photographs. Where are the people? Only a lone wanderer here and there, or some cloths hung outside testify to the human presence. What is left of their houses then? Are they under construction or being knocked down? Zanoni’s pictures unveil an anxiety about modernization. A sense of dehumanization, of alienation, while enhancing at the same time local attempts to take over these non-places.

Zanoni does not only document what contemporary Chinese metropolises are made of today. He embraces the role of the urban flâneur by exploring the ways in which inhabitants can move or are prevented from moving across their environment. Zanoni climbs up the ground hills, cuts across rubbish mounds, wanders around forbidden construction areas, while gazing from above on the elevated railway. As an attempt to depict a city on the move populated with people on the move, these photographs reinforce the fact that paths are alternatively opened and obstructed.

In sum Wuhan Boulevard intertwines the notions of order with disorder, hope with disillusion, leftover past with uncertain future. It caught a glimpse of Chinese urban life as the train is passing by.

Marine Cabos
Art historian – Photography of China



He’s a visual designer and photographer based in Milan, Italy. After attending Fine Art School and taking courses in illustration at the European Design Institute of Milan, he began his profession as a graphic designer, first in the field of printing and publishing and subsequently in web and interaction design. A devourer of music he worked for a decade writing reviews for the influential rock magazine Jam. He recently began his approach to photography obtaining important awards at the IPA’s and Sony World Photography Awards. He have exhibited in both solo and group shows in Milan, Naples Paris and New York. A tireless metropolitan traveler, his work is focused on finding unusual and urban wastelands: the quest of human footprint in the anthropocene era captured through the lens of his sleek yet detached gaze.




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Between Dreams

8 – 22 October 2017


Between Dreams is a short story about being adrift in the middle of a mirage. A place where the surrounding environment feels familiar, yet foreign at the same time. A place where uncertainty and impermanence echo from buildings built on deceivingly gentle sand. A place where culture and labor are hand-selected and structured. A place where the idea of beauty is fabricated and imperfection is swept away, as the next dust storm approaches.



Saleem Ahmed is a photographer, writer, and educator based in Philadelphia, Pennsylvania. He has an MFA in photography from the Hartford Art School and a BA in photojournalism from Temple University. He has been involved with photographic and arts-based education projects in Bolivia from 2010-2015, and is also an occasional contributor for The Huffington Post.




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