Category: social

Moving through suspended landscapes, Florence Cuschieri encounters the wandering exiles. In the forests of the Alps, they inscribe their trajectory.

Florence Cuschieri captures these traveled paths, where tangible wandering dissolves into the silence of the surroundings. The mountain, the forest, the fir trees—each becomes a vessel cradling vulnerable exiled bodies who have found refuge at Chez Marcel, a self-managed space in the French Hautes-Alpes near Briançon. The land she photographs appears suspended in a state of latency, echoing the waiting of those who tread upon it. Their footsteps carve circles into the ground, mirroring the swirling flight of swallows.

Around the Mediterranean, Massao Mascaro traces the journey of Ulysses and meets the exiles who inhabit Ceuta, Naples, Athens, Palermo, Istanbul, Tunis, and Lampedusa.

“Sub Sole (in Latin, beneath the sun), an ensemble of photographs made between 2017 and 2020, in the region of the Mediterranean Sea, follows the mythological itinerary of the voyage of Ulysses: Ceuta, Naples, Athens, Palermo, Istanbul, Tunis and Lampedusa. Crossroads of cultures, cradle of foundation myths, the Mediterranean is, today more than ever, marked by migrations, exile and displacement. Over the course of seven voyages and numerous chance encounters, Mascaro goes in search of the young people who inhabit and traverse this region. The literary narratives which the artist drew upon for his work are like the invisible companions of these photographs. They imbue the contemporary images with an ancient substance. Beneath the sun, political, economic, existential, and poetic implications intersect, beneath the harsh, hot Mediterranean light whose rhythm shapes human life.” Sonia Voss

On colourful backgrounds of his own creation, Vuyo Mabheka reclaims his history. With the few photos he has of himself as a child, imagination merges with reality.

The Afrikaans word “pophuis” refers to a dollhouse game familiar to children. Vuyo Mabheka builds the Popihuise series based on this game, using cutouts from rare childhood photos of himself. He creates interiors and scenes where he appears, sometimes accompanied by imaginary friends — represented by people from his community whom he has secretly photographed, and sometimes in the presence of a fantasised and faceless father figure.

The series features a few core elements: drawings, collages, and photographs, coexist in a seemingly naïve and tender universe. Shiny cars, skyscrapers, burning tires, and new pavilions contrast with cultivated fields, colourful birds, graffiti, and blossoming trees.

Among these images, which highlight the tension between liberalism and modernity, stands a child almost helpless in the face of his harsh reality: Vuyo Mabheka, who is rewriting his memories and reclaiming his own world.

Popihuise is Vuyo Mabheka’s first book.

Like a door into their intimacy and captivating simplicity, Silence is a Gift gently celebrates the inhabitants of Southern Italy, a region still scarred by modern tragedies.

Rione Sanità (Naples), Santa Lucia (Cosenza), Torre del Greco. There are places in Southern Italy that carry scars of incurable wounds on the walls and on the flesh of its inhabitants. In those wounds lay the historical memory and the real face of people. Their names are Alfonso, Elena, Marco, Stefania, to name a few. Some are from the same districts and know each other, others don’t. But they have one thing in common: they’ve all met Ciro Battiloro, who has followed them into the intimacy of their home, with his camera and with his heart. He portrayed their everyday life by taking part in it. Never an intruder, Ciro Battiloro is a friend, a brother, and a confident. He doesn’t focus so much on the marginality, but rather on the extraordinary vitality. He has seen new lives being born, children becoming teenagers, and then parents in their turn. He also had to say goodbye. Silence is a Gift is about love and loneliness, life and death, pain and joy — but most importantly, about intimacy and resistance.

Like a journal, Halfstory Halflife documents in black and white the happenings of a place where the local youth gather to challenge gravity and the expectations of life.

Over the course of multiple summers, Raymond Meeks has ventured the few miles from his rural home in the Catskill Mountain region of New York, to a single-lane bridge spanning the tributaries of Bowery and Catskill Creeks. Beneath the bridge, a waterfall drops sixty-feet over moss-covered limestone toward a forbidding pond. The local youth have come here from time immemorial, congregating near outcroppings and around a concrete altar – a remnant of an earlier stone bridge. Most allow themselves a brief running start before launching their pale bodies into the void, where tentative suggestions of flight mark the response to gravity. Taken collectively, their gestures allude to ritual, a prayerful response to the exigencies of budding sexuality and a future rife with uncertainty. Halfstory Halflife is a distillation of the photographs made in the shadows of these falls, marked each summer by the emergence of young adults perched at a precipice both in space and in their lives.