My work process can be summarised as a search for traces, symbols and fragments taken from those blurred memories I have as a child that refer to the idea of home, of memory, of childhood: an abandoned farm, the old school, a dry tree surrounded by ivy, the neighbour, an old bar table instead of a wicker chair. Landscape and nature photography fits my personality very well; it gives me peace of mind because it allows me to be connected and in the present, the "here and now".

Photographing allows me to heal my relationship with places that have always generated a kind of ambivalent feeling of love and hate towards my land and my home. This way of working through the natural landscape and the rural world made me feel alive and connected to my homeland, and most importantly, it made me want to continue working there, something that had not happened before.

I am interested in the boundaries between nature and society, the balance between presence and absence, where human intervention is always, and inevitably, a transformation of the landscape around us. Nature and artifice, involuntary harmony, the anonymous and marginal intersection between man and nature, the unpremeditated aesthetic. I stop to contemplate what is usually discarded because it is considered banal, uninteresting, or because it is seen too often and eventually goes unnoticed.

Photographing and walking, exploring spaces where silence is still to be found, far from the world's noise. Being outdoors and exploring my environment without geopolitical boundaries influences the everyday and ordinary creative process.

https://www.maurocurti.com/

Text and photo: ©Mauro Curti

Voice:Eric Fidyk (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

Mauro Curti (born 1980) is an italian photographer who lives and works between Cuneo (Italy) and Madrid.

After several jobs in different sectors, he took a course in photography before leaving Italy for a research trip focused on the practice of the use of the photographic medium traveling around Central and South America for several years. He settled in Buenos Aires in 2015 where he deepened his photographic studies approaching analog photography.

At the end of 2019, he returned to his hometown and started working on his long time project Riturné, for which he won a scholarship for a master's degree in Documentary Photography at TAI University (URJC) in Madrid.

https://www.maurocurti.com/

Text and photo: ©Mauro Curti

Voice:Eric Fidyk (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

The Arctic was never considered a proper place for women. Throughout history, women have been deemed unfit to deal with the challenges of an autonomous life in the public realm, let alone with the dangers of the isolated wilderness.Non-indigenous people to the Arctic have long conceptualised the polar region as a barren, inhospitable landscape where only the toughest of men could survive. Built into this affirmation of the adventurous and engineering nature of men, is the systematic refusal of women into the arctic world. This frame of mind is also reflected in the body of stories and literature set in the circumpolar region: women are mostly absent, and if they do happen to make an appearance, they are classified as man’s inferior companion, as an exception oras just not in their right mind, or both.

At the sametime the Arctic has traditionally been gendered as feminine in the Western World. Initially, it was regarded a region to be conquered and penetrated; asmale territory that has to be brought into submission. Whereas this view has shifted in post-colonial times, the Arctic is still conceived of as feminine and is now collectively imagined as a pure, pristine place in need of our protection. A barren, virgin land in distress. By imposing on it a passive identity as an object of desire, this one-sided and simplified view is not aligned with reality. The project Only Barely Still aims to propose a different narrative of the Arctic and its collective imaginary. By standing on the axis of two misconceptions – about the Norwegian Arctic on one hand, andthe women in it on the other – it wants to respectfully capture their synergy.

https://catherinelemble.com/projects/only-barely-still

Text and photo: © Catherine Lemblé

Voice: Annie Smith (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

Catherine Lemblé (b. 1990, Belgium) is a pho­tog­ra­ph­er based in Brussels. She received her MA in pho­tog­ra­phy from Luca School of Arts Brussels. Her first book Cabin Fever was self-pub­lished in 2019. Her ana­log medi­um for­mat images depict the ever-chang­ing rela­tion­ship between man and the nat­ur­al world.

https://catherinelemble.com/projects

Text and photo: © Catherine Lemblé

Voice: Annie Smith (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

The Saxons of Transylvania is a documentary and multidisciplinary research work focusing on the historical account of this ethnic group of German origin, whose identity is tarnished by the great wars of the 20th century and the subsequent communist period when most of the population was expelled or fled their towns and villages. Their civilisation now vanished, is documented with a mixture of archival pictures, new photographs, illustrations and their own and others' narratives, revealing an uncertain future for a widely dispersed group of people worldwide.

From identity, memory, tradition and life experience, we delve into some of the personal stories of the last Transylvanian Saxons now that their culture, history and legacy are on the verge of disappearing altogether.

Text and photo: ©Pascual + Vincent

Voice: Ken Hunter (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

P. Martínez (Murcia, 1977) and V. Sáez (Alicante, 1976) are two Spanish photographers based in Murcia collaborating as a duo since 2013. Their work is focused on human relations and the study of society, through photography, as means of anthropological exploration. Both are trained in Artistic Photography from the Art School of Murcia, and while Vincent also studied Technical Architecture, Pascual did so in Art History. Their joint work has been recognized with many national and international awards, including the First prize in the EAC 2023 Contest, the 2020 Rendibu Photography Award, the 2018 Banco Sabadell Foundation ArtsLibris Award, nominated for the Unveil'd Photobook Award 2018, awarded the HP Inkspiration Award of Excellence 2018, and the Solutions For Paper Award 2018 in the United Kingdom. And his work is part of important collections such as MoMA Library (USA), Tate Modern Library & Archives (UK), Yale University Library (USA), or the École Nationale Supérieure de la Photographie in Arlès (France).

Text and photo: © Pascual + Vincent

Voice: Ken Hunter (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

"My series “Contos Amazônicos” (Amazonian Tales) was based on a homonymous 19th-century book by Brazilian author Inglês de Souza. I had read one of its stories as a child, and when I picked up the book again years later I was immediately captivated by how it seamlessly weaved between fantasy and social critique. I felt its tone aligned with the sort of photography I liked to do, and was inspired to try to extrapolate that into a photo project. This was one of the only times in my career in which the clear idea for a series came before picking up the camera, but despite that the photos I eventually made in the Amazon were very different from what I initially had in mind. My pre-conceived ideas were probably influenced by clichés and stereotypes about the region, which I had not visited before. I envisioned images that were a lot more colorful and exuberant, and I was quite surprised during the editing process when I started to notice how somber and murky the photos were turning out. But I'm glad about that, because it is a lot more fun and engaging to be surprised than to simply execute pre-planned movements. (...)"

Text and photo: ©Rafael Milani

Voice: Marcus O'Donell (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

Rafael M. Milani was born in São Paulo, Brazil, in 1989. He began photographing in 2008, and since then has participated in several exhibitions and publications in Brazil and abroad. He studied photography at the Panamericana School and the São Paulo Museum of Modern Art. He was granted an individual exhibition in the New Photography Program of the São Paulo Museum of Image and Sound in 2013; won second place in the Environment category of the Pictures of the Year Latin America award in 2015 and won the Acciona Award of PhotoEspaña in 2016. In 2017 he participated in the 20th edition of PhotoEspaña with two individual exhibitions, in São Paulo and Madrid. His work revolves mainly around nature and its relation to man.

https://cargocollective.com/rafaelmilani

Text and photo: ©Rafael Milani

Voice: Marcus O'Donnell (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

For three years, I have been traveling from Munich to Roma settlements in Slovakia. Svinia, Secovče and Trebišov are informal settlements, situated on the outskirts of the towns and villages of the Slovakians. As if caught in time capsules, their residents seem disconnected from the outside world. Most of their huts are made of reused wood planks and are lacking running water or sanitary facilities. Like nowhere else in the E.U., poverty, unemployment, exploitation, drug abuse and resignation determine the inhabitants’ daily lives.

When I am on site, whatever the Roma want to show me becomes the subject of my writing and photographing. My wish is to wrest poetic images from their situation in order to show the people’s dignity, but I also want to bring their permanent struggle to the attention of larger audiences.

With every visit and every note and every picture, I'm getting closer to the settlement’s inhabitants. I continue to gain more and more insights into this unbelievably frightening and yet touching and loving world of the Roma. And eventually these trips have become an integral part of my own life.

https://kristofhuf.com/how-do-you-know-if-someone-loves-you

Text and photo: ©Kristof Huf

Voice:Eric Fidyk (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com

Kristof Huf was born in Guadalajara, Mexico, as a son of a German/Canadian artist family.

He studied Jazzbass and Restoration.

He works and lives in Munich / Germany.

https://kristofhuf.com/

Text and photo: ©Kristof Huf

Voice:Eric Fidyk (IA)

This audio is part of the Audioteca Fotográfica, a photographic sound archive that captures the gazes and reflections of those who get behind the camera.

(...)

+ info:

www.audiotecafotografica.com