Ruth van Beek (b. 1977) uses the established visual codes of photography—a shadow, pedestal, dark backdrop, or gesture—to guide viewers into a belief in the incredible rarity or importance of the shown object, even when that object is unidentifiable. From a growing archive of found photographic material, van Beek arranges images in constantly changing ways. The primary source for her odd and playful collages are specialist books and magazines of the 50s, 60s and

Three different volumes gather the three artist’s works: Olivo Barbieri, site specific_MARCHE 17 (earthquake) Marche Terremoto 2017 2018 Paola De Pietri, Improvvisamente Petra Noordkamp, Fragile. Handle with Care Between August and October 2016, a sequence of strong seismic shocks hit the internal areas of Macerata, Ascoli Piceno, and Fermo. In those places medium-sized and small communities enjoyed a long period of artistic splendor between the Middle Ages and the Renaissance. In this diffused museum the

"They say right here where we are is the Okama crater, but if we can't see it, how can we be sure it exists?" - excerpt from Clara Gassull's notebook.   Travel-the idea of mobility and displacement-has stimulated the work and lives of numerous authors, gaining vital importance in the generation of new artistic proposals. In 2019 we had the opportunity to travel to Japan for the first time, curious to discover a culture that was part of

Atlas is a personal response to the challenge of representing the nomadic nature of experience. Israel Ariño's gaze slips into reality and is transformed into an extraordinary and timeless world, captured and invented at the same time. Objects emerge slowly and the sensations evoked in his photographs appear only when the image materializes and the viewer looks at it. Only then can we see poetry, waiting, huddled in the treetops, or in a half-op

Footprint is exploring ways of mapping information and aerial and satellite photography of the landscape in general and Will Rogers World Airport (OKC) specifically. As an artist, Gerco de Ruijter started out looking at landscapes from the perspective of a kite. From above, the world he photographed usually looked like an abstract map. About ten years ago, he shifted his interest to Google Earth. The satellite images seemed to be made by a kite fro