Antonio Lozano


Hair Stories

This series explores the passage of time in the body, from the growth of hair, through the fiction that a series of people of different ages never in their life cut their hair, for which their long hair reflects their lived time. The hair becomes another way of measuring the passage of time.

Artist Statement

The idea of a lost body is a constant in my production. The body is in constant metamorphosis, leaving one state behind and becoming another. We are not a single body, but several throughout a lifetime. In my work, I explore the past and future histories of the body, the waste, and the ghosts of it.

Eduardo Carrera


About the selection of photos

These images belong to a registry in which I have worked in recent years. I'm interested in public spaces, clubs, walks; their architecture, use, and the way in which they are contained, and how they condition men and women, especially during youth. There is also how these scenarios reflect collective initiatives, efforts, or abandonment. Their historical and political sides. On the other hand, I bring the portraits of people who have a relationship with me into the collective structure.

Giulia Lacolutti



In Mexico, in the last 15 years, the Muslim population has almost tripled: in the year 2000, the country hosted 1,500 devotees; in 2010, there were 3,700 (The National Institute of Statistics and Geography). Now the Center of Economic Research says that there are 5.260 Muslims. The Mexican idea of Islam is far off to the common perception; they believe in high moral values where there is no place for corruption, betrayal or violence, which is appealing in a culture surrounded by all three. To be Muslim offers a marker of cosmopolitan distinction that becomes a strategy to exit from the identities generated by a mass consumer society and a local taxonomies class.

This story narrates 24 nights (from June 18 to July 16, 2015, removing the days of my period when I could not enter the mosque) that I spent in one of the two Suni mosques with Mexican Muslim women during Ramadan, a month of fasting, portraying their lives and customs from the Maghreb prayer, when they can break the fast. On July 17th, I went to the Eid Al-Fitr, the feast at the end of Ramadan, where women and men gather to eat, dress in the most beautiful garments, and give gifts to children. They are fascinated by Arab aesthetics; simultaneously they want to respect their Mexican traditions, like to game with the piñata of Catholic origin. Mexico is one of the most violent countries in the world; here the Muslim community has built a peaceful oasis, far from the prejudices of Islam.

Xavier Martin


She from Upstairs

She, thirteen years old, migrates by boat to another land, wears clothes and a deep force. That movement will echo in time and will become the founding myth of my origin. I traveled to Galicia to work on that imaginary that works in me as a constellation of forces in constant mutation. The same force of her multiplied and transformed in time. The water from the fountain that never stops sprouting.

Carol Espindola



We communicate with the world through our bodies. In the case of the female body, it is particularly important to weigh in on how body weight influences how we relate to others. The media, the representations of beauty through art history, and the fashion world alike have generated a stereotype of beauty that seeks a perfect feminine body. Through my photographic work I have been interested in speaking from the body, at first the crisis of the transition of youth to the adulthood and subsequently the relationship of the aging female body with the younger female bodies, of the overweight in the relationship of the couple, of the stereotypes of beauty vs. the real female body and the longing for youth in the body. As in almost the entire world, in Mexico, we still face machismo in everyday life, to social pressure to meet the stereotype of beauty in vogue. To the emotional crisis that many women face stop being young and "stop being pretty." In Atlantis, I perform actions that symbolize the act of stopping time. I am interested in the use of landscape as a studio and take the landscape to the studio, I make collage, appropriation and reinterpretation of paintings, that through the history of art. Art represents the beauty and role of women in the world. It is a project about the utopia of the perfect female body. The name of the series comes from using "La Atlántida" as an analogy of the search of an impossible place, located in the search for that perfect body of a woman. For me, the perfect feminine body resembles paradise, the world perfect in which we have to live some time. Guilt, lust, almost all forms of sin are attributed to women since their creation in paradise and its exile towards the world. There was no going back.

Celeste Ortiz


Celeste Ortiz is a Chilean photographer dedicated mainly to self-portraiture, exploring concepts of intimacy, body, introspection, femininity. She has a degree in digital photography but opts to work with analog and instantaneous photography as her creation tools. Her works have been exhibited and published internationally.