The first issue of the fanzine, xe!, aunched by Ricardo Cases. Ricardo continues to explore his land, in the wake of El poder de las oranjas (Mack, 2014), with the particular idiosyncrasy of the Levantine landscape and its traditions and festivals. Here we see the relationship between the dry land and the training of the horse by man. The earth, in the shape of a palm, truncated and dying, poor naked skeleton, almost a cross, onl

Revered dogs and biting dogs, feasting at the restaurant and hungry beggars, VIP cruises and crowded drifting boats, overflowing shelves and rubbish to dig through, throwaway games and brick carts, war and war games with no games, carefree dives and shipwrecks in the middle of the sea, childhoods abandoned among comfortable pillows and blind alleys, the arrogance of consumers and the sadness of the consumed. Sometimes, we and them, victims of the same desires of

Archives are all around us: in the form of family albums, or the community, city and national archives. We tend to perceive them as places and spaces where memories and evidence of histories are kept, preserved, indexed and certified; as repositories of traces, and treasure coves of relics and narratives. However, they are also very complicated entities, as the construction of archives all too easily lends itself to the curation, staging, erasure and manipulation of

The idea of the book was born during the collection of the suggestions and stories that came together in Chapters, a 16 mm film shot in Cyprus in 2012, and developed as an exercise or rather as an experiment useful to deconstruct the film in some of its themes. Entering a new series of associations between image and subject, source and information, meaning and abstraction, this book is at the same time a document and a map

In the presence of Dionysus, the god we cannot observe without him doing the same, we are overwhelmed by his strength. Eros is intoxication and awareness, enthusiasm and knowledge. Tenderness and violence arise from a dance which is animal and divine at the same time and imposes on the viewer an involvement beyond the intellectual, an immersion in the living, manifestation of the power that generates forms. Initiatic journey, once returned from