© Francesco Merlini



In the threshold of reality and symbolism, Francesco Merlini’s series "The Flood" deals with the reminiscence of the disaster that hit Tbilisi in 2015. People died, many families became homeless, a zoo destroyed, and a city in shock. The city became a wilderness full of dangerous beasts. The zoo lost more than 300 animals. An influential head of the Georgian Orthodox Church blamed the floods on the "sin" of the former Communist regime. Which, he said, built the zoo in its current location using money raised from destroying churches and melting down their bells.



The project explores the disparate theories and contradictions around the Nuragic civilization's historiography. This prehistoric Sardinian population existed between 2.300 BC - 200 AD and played a central role in shaping the contemporary identity of the island. The lack of indisputable information about them and the abundance of unresolved hypotheses made room for several myths to emerge, often real traps in the historical narrative which paved the way to bizarre and absurd theories. 


“Pego Negro” is about the passage of time that is closely linked to photography: from erosion through pollution, through aging and how it all can affect and modify the landscape around us – the photographic medium itself and our visual perception.



In this new series about the interrelatedness between the earth, animals, humans, plants, moon and stars, Annemarie van Buuren combined her own drawings in East Indian Ink with analog techniques in which “nature draws itself” such as photograms and lunagrams.


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The coastal region of Guerrero known as Costa Chica is home to Mexicans descended from African slaves that identify themselves as being “black”. But outside this region they are little-known and they are currently fighting to be officially recognized by the Mexican State. The Costa Chica is also a place rooted in traditional beliefs that include appearances of trolls, the devil and spirit animals.



In her ongoing series Compost, Rhea Gupte photographs weekly still life portraits of the wet waste produced in her home. The installations take on various forms as they are organically frozen over time, as layers of waste pile up, allowing her to play with structure, colour and textures. The end product challenges the idea of the contrived versus the organic, the images indulging in both. The series brings to the forefront the idea of creating art with minimal resources. 



‘In Natura’ depicts objects that imitate various aspects of nature. Trees made of concrete, dinosaurs under the highway or hatches in the sky; the use of bizarre materials as well as construction-related flaws lead to an ironic and grotesque impression. Even if there is sometimes a claim to reality, the inappropriately embedded surroundings betray the imitation and reduce these replicas to absurdity.



"Anima Mundi" is a physical journey into the Peruvian Amazon forest, but it could have happened everywhere - even in the imagination. Anima Mundi means to be disoriented when all reference points start to be missing.


It is finding yourself alien in a natural world that you thought was of comfort. 


It is learning that a break is not the end but the starting point to recreate your own place in the natural environment.


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"Amygdala" refers to the place in the brain where emotional memories are created, stored and processed. Some are strongly anchored in our memory while others become colored over time. Fragments from the past lose their context and their connection with the present gradually fades. By using collages, De Wandel expresses the many layers of memories and makes us think about how we deal with facts and manipulation.


This series documents the incongruous behavior between man and the environment in Sumatra, Indonesia. On the one hand humans destroy virgin forests, wounding and killing animals, while on the other hand they do everything possible to save them. The series has been awarded 2 First Prizes World Press Photo in 2020 in the Nature Stories and Nature Singles categories.