Paradise Inn

23 April – 7 May 2017

2012 – 2016

The word “paradise” literally means walled enclosure or recreational and entertainment area, probably derived from the Persian word “Pardes” which is attributed to the walled pleasure gardens of the Great King of Persia.

In recent decades, countless of artificial “paradises” were developed around the world and their number still grows faster than ever before. This industry that manufactures an entertainment product of mass consumption meant to satisfy the average man’s need for recreational time and fun, is called tourism.

The tourism industry has drastically intruded the land, transforming it into a product while causing several effects with a severe socio-cultural character. Destinations are in danger of losing their original appearance, structure and identity, through a standardization process that aims to satisfy the tourists’ wishes. What is not understood though, is that this process doesn’t degrade only the final product but mostly affects the local societies which have to survive the low periods relying only on the remnants of a seasonal industry.

Paradise Inn aims to highlight the consequences of this massive and uncontrolled tourist development. In Greece, as in Southern Europe in general, these effects are reflected on the constructed landscape mostly through the unregulated and shoddy architecture, the kitsch and folklore decoration, the construction and adoption of artificial elements and entertainment structures, the falsification of identity and cultural heritage, the violation of the natural environment and finally the desolation that occurs after peak season.

As Marcel Proust said, the “only true paradise is the paradise we have lost”. Paradise Inn is a tribute to all the lost paradises, in which millions of ordinary people manage to impose their own selves, the desperate experience that anyone could eventually face: the impairment of our quality of life and aesthetics and the loss of use of the natural space.



Marinos Tsagkarakis was born (1984) and raised in the island of Crete, in Southern Greece. He studied contemporary photography at STEREOSIS Photography School, in Thessaloniki, Greece. He is a member of the collective “Depression Era” that inhabits the urban and social landscapes of the economic crisis in his home country.

His work has been featured in numerous exhibitions and international festivals, including Mois De La Photo in Paris, European Month of Photography in Budapest, Athens Photo Festival, Medphoto Festival, Biennale of Contemporary Art of Thessaloniki, Athens Biennale, FOCUS Photography Festival in Mumbai and Fotoistanbul. Moreover, he has exhibited his photographs in important art spaces such as Benaki Museum (Athens), Maison Européenne de la Photographie (Paris), Museo de Bogotá (Colombia) and several galleries in Canada, USA and Europe.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone


16 – 30 April 2017


Arriving in Brasilia is a strange feeling: an illusionary city that would reveal itself very slowly. From afar, the landscape is flat. Then, above the emptiness, a vibrant shape appears in the bright sun, like a giant model growing up from the ground. The vision speeding faster as the city progressively appears. Unbelievable.

Brasilia is the capital of a vast country. But it is not a city. It is the drawing of a city, a cross in the middle of the desert. An act of possessing a territory, perfectly and globaly achieved from scratch by architect Oscar Niemeyer and urbanist Lucio Costa, under the impulse of president Juscelino Kubitschek.

I came to see a city. I discovered an infinite garden. A wasteland. A suspended space that stretches out of human dimension.

I walked for hours. Off the map and its limits in an urban space that has not yet been conceived for a walker. I met a few men, as my own reflection in a mirror. They walked to the rodoviaria – the main bus station – at the crossing of the two wings of the Plano Piloto.

The public space in Brasilia is the whole territory. Cities’ grounds are covered with ashalt. In Brasilia, despite the sophisticated urban shaping, the red earth does not disappear.

Time is suspended. Life seems to have stopped the shining day of April 21st, 1960: the inauguration day of its new capital, built ex nihilo.

Strange scenes of parades of workers, soldiers and officials, between scattered brand new futuristic buidings, like an oversized movie set. A utopia that became real in a thousand days. Perpetual comeback, perpetual availability for the future.

I came to Brasilia with the feeling of coming back. I left it asking myself if Brasilia exists. It seems to. Not as a myth or a symbol of the modernist utopia, but an available open playground for all the improvisations of all of us.

Emptiness is the real monumentality of Brasilia.



Photographer born in 1976 and trained at the Ecole Nationale Supérieure Louis Lumière. His work has been published by numerous international magazines (M Le Monde, Foam, British Journal of Photography, foam, Art Press…) and exhibited at MAC Lyon, at the Rencontres d’Arles, the laurent mueller gallery in Paris and at the Villa Noailles in Hyères. He was the laureate of the Prix Lucien Hervé and Rudolf Hervé in 2012 and the author of Presque Île (2009) and of Twice (2015). Cyrille Weiner recurrently poses the question of space, and how individuals appropriate themselves to their living spaces, distanced from directives coming from «on high». Progressively leaving the documentary register, he proposes a universe crossed by fiction, that he establishes with exhibitions, editorial projects and installations.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone

No Horn Please

8 – 22 April 2017


A journey to India, Punjab, to visit two cities: Amritsar and Chandigarh.

Amritsar is the main spiritual city of Punjab, life in the city is scanned by the growing blow of the horns, thunderous during the rush hour, and by the Khalsa (the Sikh scripture) performed by the loudspeakers.

Chandigarh was designed and established by the architect Le Corbusier in 1953. The city is placed under the sub himalayan mountains and everything was built in beton brut. The capital city of Punjab compared with the rest of the country lives in a totally different way; here the inhabitants meet each other at the Rose Garden, a public botanic area with fountains and place to seat, admiring the huge variety of roses coming from all over the world.

The project was born with the aim to connect the place of origin of those indians who were the main characters of the photographic series «I’d give you anything to have you here» that was previously made in Italy.



Here I am, living by the sea. Since I was 4 years old, every winter my father took me and my family to the mountain.

Sliding on the snow I used to look at the mountain around, at the firs, at the wet ground. I will always remember one year. We arrived to the Dolomites, but there wasn’t any snow, not a single snowflake. I can still feel the disappointment.

I was born in Latina in 1979. My father is a doctor. My mother, an educator, brought me and my sister up. Then we stopped going to the mountain and I started the university. After two years of lessons and boredom, I gazed upon the library, I take decisively the camera that we used to bring to the mountain with us, and I got some shots. So I began to take my self seriously : I attended a photography course in Rome, then a master in Milan. When I came back to my city I started a travel backwards to my memory places, comparing them with the present.

Everything is different to me now.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone

Mad in USA

1 – 15 April 2017

2012 – 2016

15,000 Miles on the road… Stopping off 11, 12, 13 times, heading off again as many times. Crossing 47, 48, 49 States, fingers trigger-happy, exhilarated at the idea of capturing the American dream… This year simply with my Fuji Instax 210.

It is here, overwhelmed by the vastness of it all and, above all, mesmerised by the road so vividly conveyed by Kerouac, that colour, space, a sense of infinity, really came home to me. My subsequent chance encounters with the work of Stephen Shore, Jim Dow, William Eggleston, Robert Franck and countless others, inspired me to go off and follow in their footsteps. I wanted to see, after so many years, whether the places in their work still existed. I wanted to see for myself that particular light, experience that mood.

Cinema was naturally a huge influence, with Wim Wenders’ «Paris Texas» and «Don’t Come Knocking» leading the way. Gradually, my project took shape under the working title «Mad(e) in USA». It matured over several years as the people and smiling faces I encountered allowed me to put my finger on the charm of this continent, to grasp the reasons for its legendary attraction.

From the Lorraine Motel in Memphis to the hot rod races on the Great Salt Lake, I developed a fascination with these wild open spaces, this intensity and these distances… There are, without doubt, a few cultural differences, but for a European brought up to the sound of rock’n roll and fed on sitcoms such as «Happy Days», touching down on American soil is far from being a cultural shock. For me, it was more of a revelation.



Born in 1972, Stéphane Goin lives in Paris, France. He studied Marketing and Communications and currently works as a Sales Manager at a Law Publishing Company. He visits United States of America twice a year for more than 15 years, searching for the American lost dream.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone


23 March – 7 April 2017


Julien Hairault is interested in the traces left by Men around them to communicate, sell, inform, entertain… He explores the roads looking for details and marks of forgotten and abandoned landscapes around us. The matter of his work comes from street corners and on by the roadside: closed shops, disused buildings, empty places, or abandoned constructions of the past. Useful or not, these forgotten signs affect our territory and its landscape. Julien only works with analogue medium format cameras to keep physical tracks of subjects impacted by time.

“1969-1977” is a series that reminds us that unnecessary projects have always existed. In 1969 was built in the French department of Loiret a test strip for a new monorail that was supposed to go between Orléans and Paris. After a fews years of tests including a world speed record around 430km/h, the project was abandoned and the construction disused in 1977.



Born in Western France in 1984, Julien Hairault is a self-taught photographer. He also works as cultural coordinator with high school students, especially about movies.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone

Picture of Health

16 – 31 March 2017


The NHS will last as long as there are folk left with the faith to fight for it.

Aneurin Bevan
Health Minister who created the NHS

Since it’s inception in 1948, the National Health Service has been the prized jewel in Britains welfare crown. As mortality rates decrease year-on-year, the demand for cutting-edge therapies, and their associated tariffs, continues to rise. A victim of its own success, the NHS faces it’s biggest fight to date.

Between February and June 2016 I was granted access to all areas across Northampton General Hospital, where I have worked as a nurse for over a decade. The organisation is a mid-sized district general hospital in which small miracles happen on a daily basis. It is the aim of this series to evidence chronic underfunding across the NHS, and consequently that the provision of safe care to the populace of Northamptonshire is becoming increasingly difficult.

“Picture of Health” is my take on a small corner of the UK’s National Health Service today. These are the spaces in which all aspects of healthcare at Northampton General Hospital are delivered, from birth until death.



Andy Feltham is a self-taught photographer who lives in Northampton, UK, who also works part-time within the healthcare setting at his local hospital. He has been exhibited in the UK and Italy and featured in numerous publications, both online and in print. He has also been commissioned to work in the commercial as well as the fine art setting.

Feltham seeks to create a tension within each photograph by using meticulous framing, exposure and technique to detach the subject from its surroundings. This lends a subtle disquiet to the underlying themes of beauty, mortality and humour that hallmark his work.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone

An Aesthetic of Everyday Life

8 – 22 March 2017


Since ancient times, the Japanese have had a unique aesthetic sense referred to as “wabi-sabi”. Generally, this style prefers the mundane over the showy, quietude over eloquence, and stillness over movement. However, almost no opportunity to hear about the style exists in modern times. As time goes by, and as people become more and more superficial, they have lost touch with their aesthetic sense. One day, I found a common point in photos I captured. That’s the quietness.

I may unconsciously feel an aesthetic sense like “wabi-sabi” in the environment which keeps creating, destroying and changing all the time. Nothing is permanent in this world. And we know life is not endless. That’s why I suspect that we can have a feeling of existing together in harmony. This series is a documentary that seeks for feeling in everyday life.



Junya Suzuki, born in Japan in 1979, began taking photographs in 2009. He is a street photographer based in Kanagawa and Tokyo, Japan. His interest focuses on how picture elements connect at the same place at the same time. The faces may have turned to the same direction, or may have turned to a different direction. However, the connections in their emotions fill the space as an attractive photograph. He continues shooting to pursue a goal to document real facts of daily life, adding his own expression of surrealism, lyrics, and humour




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone


1 – 15 March 2017

2008 – 2012

Driving around America for the last six years trying to cover as much of it as I could, going from one political hotspot to the next, from the BP oil spill to Detroit, which is actively depopulating its outer neighborhoods, one thing has been clear. Politics is entertainment; politicians and the press create a constant hysteria of the now, feeding a grand worldwide Greek drama, with real people, if not our own fortunes, in the balance. Like any good soap opera, there are no plot resolutions, nothing is ever truly solved. What’s left is a series of semi-satisfying plot points that are quickly forgotten in the buildup to the next cliffhanger and a never-ending series of monetary distractions that have little effect on our day-to-day lives.

Lax regulations on banking policy caused the economy to implode in 2008, creating a downturn second only to the Great Depression. The calamity was days from throwing the world economy into chaos and has since destabilized European governments and caused domestic unemployment to hit highs not seen in thirty years. Yet five years later there is no interest in substantial banking oversight and the most pressing political issues are federal deficit policy and the pay of public sector unions. This is a disconnect that makes it hard to believe that those writing the plot care if anyone is paying attention. The only people who seem to recognize these issues as distractions are those writing our history (and then only when everyone involved is out of office and retired). History slowly comes to the truth the way beach erosion or glaciers melting bring about a slow-moving change that is constant yet nearly imperceptible.

This listless pace leaves us helpless to affect much of anything that isn’t on a very personal scale. Presidential memoirs are littered with the realization that even the most powerful person in the world has little ability to overcome the slow-moving pace of large political issues. What can we do but work as best we can to understand the events as they happen and hope that the choices we make in our lives will be the right ones? Hopefully, in some marginal way, this will change things for the better.

When things do inevitably change, they tend to sneak up on us as pleasant little surprises where all of a sudden we have an African-American president, gay marriage and a national healthcare program. By the time these once-monumental shifts take place, they seem self-evident. Why shouldn’t African Americans and homosexuals have equal rights? And why shouldn’t we pool all our resources to purchase healthcare? It is only with a good deal of reflection that it becomes clear how slow-moving history is and how long it takes for beliefs to change and how much better our lives have become because of it.



Carl Gunhouse was born in 1976 in Boston, Massachusetts, but he spent his formative years in suburban New Jersey. Growing up, he developed a love/hate relationship with suburbia that led to the angst familiar to most suburban youth. With this unrest came the discovery of the anger and DIY ethics of hardcore punk rock. Yearning to be part of the hardcore scene, he started photographing bands, which began his love of photography.

To escape suburban New Jersey, Carl enrolled at Fordham University in New York City. While completing a BA in European History at Fordham, he discovered that photography could be something to pursue a career so he decided to simultaneously complete a BFA in Photography. After going on to earn his MA in American History from Fordham, Carl concentrated on street photography. In hopes of developing and refining his photography work, Carl completed his MFA in Photography at Yale University.

Since graduating, he has found a great deal of personal satisfaction teaching as an Adjunct at Montclair State University, Cooper Union, Marymount Manhattan College, and Nassau Community College. He has also gained some renown for his straightforward writing on photography for such web sites as Searching For the Light, Lay Flat, and American Suburb X. His photography has been shown nationally and internationally. As an artist, he has produced a body of landscape and portrait photographs by driving around the United States to expose the little visual bits of America that give voice to our shared history and experience. Carl currently lives and works in Brooklyn, NY.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone

Images from Kazakhstan

23 February – 7 March 2017


These photographs were taken in Kazakhstan on April 2014, upon an invite by the Foundation of the First President of the Republic of Kazakhstan to work on a documentary project in the South. I took pictures of people and places, without any intention to follow a specific story, just focusing on the visible contrast of modern Kazakhstan.

Traveling from Alma-Ata to the city of Turkestan, the landscape is extremely variable, completely different from the places I’m usually used to. I continue to look outside the window. On the trip that will last 16 hours by car, I will not be able to stop often. At a service area along the motorway I find some travelers who get off of an old bus, to stretch their legs and have a drink. On this journey, I will visit one of the oldest and most remote areas of Kazakhstan, rich in archaeological sites, places of worship and pilgrimage sites.

I reach the ruins of Otrar, an ancient urban site currently a place of an archaeological dig, where workers and archaeologists are involved in the work of recovering what has been buried by earth and time. I go to visit the mausoleum of Arystan – baba, a site of pilgrimage from all over Asia; a place immersed in a land that is lost to the eye towards the horizon, from which stand a few buildings: the old mausoleum, the new white mosque and its adjacent buildings, the sunset-backed profile of the tombs in the surrounding cemetery. On the next step I reach the famous place of worship. Also a great tourist attraction for its historical, cultural and spiritual value, the massive presence of the Mausoleum of Khodja Akhmed Yassaui stands on the very flat horizon of its surrounding territory. In the gardens of the same mausoleum, tourists used to take family pictures, or would get on a camel for a few Tenge, the local currency. I leave the site of the mausoleum to move to the old bazaar in the city of Turkestan, full of people, vendors and local merchandise.

In the late afternoon, I visit the historic ex-soviet railway station, where on the first platform I find a large number of small shops that sell any kind of drink, food or object to travellers. The next day I reach another archaeological site, Sauran, an ancient city dated back to thousands of years ago and destroyed about a thousand years ago. The ruins, currently reduced to the bone, with the exception of the perimeter walls which are still well visible, are immersed in a barren and dusty land, giving you the impression of being almost in the desert. I go back to the city, abandoning for a while the steppes, where on the street I see many old cars, mostly Lada, off-road vehicles and pictures of the president of Kazakhstan.

After travelling back, I am in Alma-Ata again with the memory on my mind of a place so remote and different, not only for me but also for the people from here, accustomed to modernity and contemporaneity of a cosmopolitan city pointed to the future, which contrasts with a zone of Kazakhstan still tied to the past and historical traditions of its wide Country.



Gianfranco Gallucci (b.1981) is an independent documentary photographer based in Rome. He works mainly getting involved in long term projects focused on landscape, social and cultural issues, exploring the relationship between us and the places we live.

Graduated in Architecture at the University of Ferrara in 2008, with a research thesis on photography and urban system analysis, titled «Introducing Photography – PHOTO (+) DATA / backup – A feedback for the contemporary city», curated by Vittorio Savi. He started approaching photography as a self-taught photographer in 2004, after independent studies on cinematography, while majoring in architecture at university.

In 2009 got an internship at Agence VU in Paris. The following year, he moved to Rome where he got a master in photojournalism at ISFCI and attended workshops with photographers like Patrick Zachmann, Davide Monteleone, Christina Garcia Rodero and others.

In 2013 took part to «Naked City Project» campaign on the city of Rome, and «Confotografia», a residency – documentary campaign on the territories of L’Aquila, the italian city devasted by the earthquake in 2009. In 2014 was invited by The Foundation of the First President of the Republic of Kazakhstan to work on a documentary project in the most remote areas of the South.

His work has been published on italian and foreign magazines such as La Repubblica, Taz Berliner Zeitung, Brand Eins, Mitbestimmung, Territorio, National Geographic Italia, Domusweb, Urbanautica, among others, and exhibited in several institutions including Triennale di Milano and MACRO Museum in Rome.

He is a United Nations accredited photojournalist.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone

O. O. O.

16 – 28 February 2017

2008 – 2011

Obscur. Obsolet. Oblidat.
(Obscure. Obsolete. Forgotten.)

During a certain period in my life, I felt the urge to visit and document all kinds of disused, shut down and derelict buildings in my homeland of Catalonia (and a few in other parts of Spain). I used to do it in quick one day trips, either alone or in the company of fellow explorers. I would get into all kinds of places: houses, factories, restaurants… And although those explorations usually involved trespassing and dealing with severely damaged structures, my quest was neither driven by the lure of transgression nor the thirst for adrenaline. It was rather an unconscious attempt to keep adulthood at bay in order to preserve the childish ability to look at the world as a place full of wonder. Looking back, I think it worked out pretty well for me.



Xavier Aragonès (b. 1979) is an amateur photographer living in Terrassa, Spain. His main area of interest is the landscape, either natural or man-altered. When taking photographs he claims to be drawn to capturing atmosphere and suggesting possible narratives rather than telling a straight story. His first photobook, “O.O.O.”, was published by Camera Infinita on February, 2017.




Share on FacebookShare on Google+Share on TumblrPin on PinterestTweet about this on TwitterEmail this to someone