What We’re Reading #4: Summer 2025

Tensions resurface in different forms in our latest roundup of What We’re Reading. Criticism negotiates altered modes of circulation; imperial violence continues to determine who speaks, who is seen and under what terms; and the metaphysics of development and hierarchy remain inscribed in our institutions and imaginaries. Higher education vacillates between managerial complicity and the appearance of working for us. Meanwhile how are personal narratives, collective memory and the ontologies of works of art navigated in various spaces and public discourse? Thomas King writes.


Thomas King | Resource | 12 June 2025

A Criticism Review 2.0 | Objektiv #25

If we are to carve out new ways of working and being published, what forms must we invent – what rhythms, structures or publics might we compose or dissolve? Who is brought into the fold of a writing community? What constitutes a ‘community’ and what do we call our ‘work’ and ‘practice’?

Objektiv Press describes its 25th issue as a manifesto in which a group of writers – including Susan Bright and Travis Diehl – explore the tensions of textual production, authorship and the shifting, porous networks their work inhabits. Reissued in 2024 with two new contributions, this third and final instalment of Objektiv Editions – a publishing and project initiative in collaboration with Kunstnernes Hus – emerged from the post-pandemic moment: an invitation to reexamine the fragile ecology of writing on photography. Certainly, from our vantage point, the past decade has sharpened awareness of a broader attrition with magazines and certainly newspaper columns folding or shifting online, commissions dwindling and book publishing within photography becoming increasingly rarefied.

Still, there is a sense that through certain publishing initiatives and the communities they cohere, we glimpse not only survival, but potential in other practices, other ways of ‘working’, writing and thinking that resist the logic of scalability and exhaustion. Less a declaration than a provocation, A Criticism Review brings together poetic, precise and contemplative approaches to these questions. It is a work whose provocations are rooted in a specific historical moment, yet the questions it poses resist any easy containment within it – a timely contribution to the ever-evolving conversation about what criticism, and its modes of circulation, might yet become.

‘The Interview: Ariella Aïsha Azoulay’ | ArtReview, April 2025

ArtReview Managing Editor, Yuwen Jiang, writes ahead of her interview that Ariella Aïsha Azoulay is one of today’s key proponents of, and thinkers around, the reversal of imperial violence. Cutting across any formalities, Azoulay asserts that imperial regimes, by positioning colonised peoples as epistemologically subordinate, have relied on a violent metaphysics of development and hierarchy – one that draws rigid boundaries between genres (academic, cinematic, literary, etc.), disciplines and even fundamental categories like adult and child. For Azoulay, these separations are not neutral or natural, but imperial technologies – ‘the colonial, imperial or capitalist way of imposing divisions with force – or amalgamating divisions, as with the imperial violence against diverse Jews, for example, who were forced to be identified as a singular people.’

Throughout the interview, Azoulay speaks across various subjects and phases of her work – at one point reflecting on Golden Threads, a book that draws on moments of Jewish and Muslim artisanship in Fèz, Morocco, as a counterpoint to colonial photographic practices. Confronted with the death of her parents and the birth of her first grandchild, Azoulay says that she had to reckon with her new position as an ancestor. With that, she claims the right to either passively reproduce the colonial disruption of transmission or reverse its curse.

‘Deutsche Börse prize review – Black cowboys, bonkers rock-huggers and a story of shocking loss’ | Charlotte Jansen for The Guardian, March 2025

As the title of Charlotte Jansen’s piece for The Guardian suggests, the 2025 Deutsche Börse Photography Foundation Prize shortlist spans a range of forms – documentary, performance, staged scenes, family archive – all circling questions of place, memory and inheritance, even as they pull in radically different directions. Lindokuhle Sobekwa, a worthy (and indeed eventual) winner in Jansen’s view is nominated for his book I Carry Her Photo with Me published by MACK. His turn to this project seemingly driven by a need to cope with, understand, or immortalise the pain and tragic story of his sister, who suddenly vanished and returned a decade later, ill. Rahim Fortune, shortlisted for Hardtack, a photographic meditation on the American South that, as Taous R. Dahmani observes, finds unexpected resonance with Cowboy Carter, Beyoncé’s album.

Shadowings, an exhibition gathering two decades of Tarrah Krajnak’s work, positions itself as an intricately structured and quietly adversarial project – perhaps the most conceptually ambitious, not least for her work with the cyanotype process. Also shortlisted is Cristina de Middel for Journey to the Centre, exhibited at last year’s Les Rencontres d’Arles, which blends documentary and surrealism to trace the polarised narratives surrounding migration from southern Mexico to California. The flattest of the lot, Jansen writes in her pointed overview of the nominees and the broader concerns shaping their work – a worthy read even following the prize announcement that took place 15 May, followed by the exhibition closing a month later.

‘The Cowardice of Elites’ | Nathan J. Robinson for Current Affairs, April 2025

Harvard’s recent stand against Trump’s mounting demands – which initially included changes to the university’s governance, tighter oversight of international students and increased ‘viewpoint diversity’ in curriculum and hiring – may seem unexpectedly defiant. However, this vaunted ‘show of backbone’ seems little more than a strained performance that can’t quite hide its complicit teeth. The institution had already cancelled programmes on Palestine and adopted the IHRA definition of antisemitism, which equates criticism of Israel with antisemitism. As Nathan J. Robinson writes in Current Affairs, up to this point Harvard had struck a markedly compliant tone, raising fears it might follow Columbia’s path of appeasement to Trump’s orders.

It’s true that in earlier court filings, the university touted ‘meaningful discipline’ for protestors and promoted new efforts to enforce ‘ideological diversity’ and civil discourse in response to ‘erupting protests’. It quietly dismissed the faculty leads of the Centre for Middle Eastern Studies, Cemal Kafadar and Rosie Bsheer, and remained silent on the detention of Kseniia Petrova, leaving international students increasingly fearful for their lives and futures in the U.S. Robinson warns of America’s drift toward dictatorship, expressing concern about a fading reputation overseas – a gesture that feels beside the point in view of history. At this stage, the state’s lawlessness is not an aberration but a function of the order itself. Rights have been recoded as instruments of control and depoliticisation. Can the university be anything other than one of its quiet managers?

AIPAD New York: The photographers, collectors, and dealers who grew the art market, Subtext and Discourse | Art World Podcast

In the third episode of Subtext and Discourse’s special seven-part podcast – produced in collaboration with AIPAD and The Photography Show – Michael Dooney speaks with Howard Greenberg, the influential dealer who helped push photography into the heat of the contemporary art market. Founder of the Center for Photography in Woodstock (1977) and Howard Greenberg Gallery (1981), Greenberg has spent decades forging a cultural and commercial footing for photography equal to that of the so-called major arts.

He reflects on his passage from photographer to gallerist, recalling the generous reception extended by New York’s close-knit photographic community upon the founding of his space – a time when the medium’s institutional footprint was modest enough that “every exhibition could be seen in a single afternoon.” Asked to reflect on a turning point in the recognition of photography as a serious collectible, Greenberg recalls the Getty Museum’s 1984 acquisition of photographs for $30 million, a move that shifted capital, and with it, credibility, into the field. The moment was amplified by coverage in The Wall Street Journal, and the years that followed saw a steady quickening with rising valuations, growing institutional interest and landmark exhibitions, including William Klein’s first solo show at Greenberg’s gallery. Amid the rush, it was discovery – not just market heat – that sustained him. The thrill, he says, was always in uncovering someone new to show. ♦


Thomas King is Editorial Assistant at 1000 Words and a student on BA (Hons) Culture, Criticism, Curation at Central Saint Martins, University of the Arts London.

Images:

1-Cover for A Criticism Review 2.0 (Objectiv, 2024)

2-Ariella Aïsha Azoulay © Yonatan Vinitsky

3-Lindokuhle Sobekwa, Khumalo street where accident happened, Thokoza, Johannesburg, South Africa, 2023; from the series I Carry Her Photo with Me

4-Howard Greenberg © Bastiaan Woudt


1000 Words favourites

• Renée Mussai on exhibitions as sites of dialogue, critique and activism

• Roxana Marcoci navigates curatorial practice in the digital age

• Tanvi Mishra reviews Felipe Romero Beltrán’s Dialect

• Discover London’s top five photography galleries

• Tim Clark in conversation with Hayward Gallery’s Ralph Rugoff on Hiroshi Sugimoto

• Academic rigour and essayistic freedom as told by Taous Dahmani

• Shana Lopes reviews Agnieszka Sosnowska’s För

• Valentina Abenavoli discusses photobooks and community

• Michael Grieve considers Ute Mahler and Werner Mahler’s posthumous collaboration with their late family member 

• Elisa Medde on Taysir Batniji’s images of glitched video calls from Gaza

Through the heart of the American South

In his new book, Hardtack, Rahim Fortune compiles nearly a decade of work, blending documentary with personal history within the context of post-emancipation America. Through coming-of-age portraits that traverse survivalism and land migration, Fortune illustrates African American and Chickasaw Nation communities. As Taous R. Dahmani observes, the iconography of the American South is drawn between Fortune’s Hardtack and Beyoncé’s Cowboy Carter, released only a few days after — both of which raise questions that serve to redefine ‘Americana’. 


Taous R. Dahmani | Book review | 17 Apr 2024

At the end of March, something very odd happened: Loose Joints dropped Rahim Fortune’s second photobook Hardtack, and, a few days later, Beyoncé released her eighth album Cowboy Carter. I can almost hear you – yes, you, reader – wondering, what’s the connection? Well, there are several. Firstly, it serves as the perfect soundtrack to look at Fortune’s photographs. As if sound was taking form. Beyoncé’s extensive 27-track list echoes Fortune’s 72 photographs; her lyrics resonating with his visual language. Both artists delve into the iconography and sound of cowboys, churches, southern mothers and daughters, rodeo, sashes and Fortune even closes his book with a “Queen Coronation”. Besides this serendipitous overlap, both artists also actively reclaim, redefine and adjust the notion of “Americana”. Wrapped in a denim-like cover, Hardtack speaks of a specific geography and moment: Texas today, the USA in the 2020s.

Beyond the anecdote of their shared Texas origins, both explore the history of the American South – one through music, the other through photography – connecting its past with its present. 2024 is a pivotal election year, with the southern states bearing a significant responsibility in shaping the country’s future (and, arguably, the world’s). Therefore, there is an urgent need to disseminate an alternative understanding or narrative of what the US might be. After all, the title of Fortune’s book, Hardtack, refers to an emergency survival food, made from flour, water and salt, signalling that we are in the midst of a critical juncture. At a time when states are banning books to erase chapters of US history, Hardtack feels like a welcomed defiance.

In her proudly made-in-America “country” album, Beyoncé embraces the soundscape of the southern states and her Black musical heritage, blending blues, soul, rock ‘n’ roll and gospel. Similarly, an incredible living encyclopaedia of American photography, Fortune quotes – or samples – his ancestors, from Walker Evans’s depictions of southern architecture to Roy DeCarava’s intimate portraits of Black life. Just as Beyoncé pays homage to Linda Martell, the first commercially successful Black female artist in country music, Fortune channels the social documentary style of Milton Rogovin, his portrayal of African-American communities akin to Earlie Hudnall Jr, and mirrors the political consciousness embodied by Consuelo Kanaga. Furthermore, Fortune examines Arthur Rothstein’s documentation of African-American families in Gee’s Bend, Alabama, originally captured for the Farm Security Administration and later featured in Richard Wright’s 12 Million Black Voices (1941). With Hardtack, Fortune engages in a self-conscious dialogue with photography’s history.

The parallel between music and photography transcends mere coincidence; its potency lies in their shared democratic practice and dissemination, but it also resonates with what Tina M. Campt described in A Black Gaze (2021) as a ‘broader commitment to understanding visual culture through its entanglement with sound, and highlighting the centrality of sonic and visual frequency to the work of Black contemporary artists.’ Already, in 2017, Campt beckoned us to listen to images, and more recently, she revisited the idea employing the concept of frequency to challenge ‘how we see’, adding that ‘the physical and emotional labour required to see these images gives us profound insights into the everyday experiences of Black folks as racialised subjects.’ Listening to Fortune’s Hardtack is to pick up on various stories and histories such as the legacy of Gee’s Bend quilts, crafted by descendants of enslaved individuals who toiled on cotton plantations. These local women united to establish the Freedom Quilting Bee, a worker’s cooperative that enabled crucial economic opportunities and offered political empowerment. As Imani Perry eloquently states in the book’s concluding essay: ‘What we know as Black Texas was birthed through captivity. This land has been a bounty; and also a burden.’ Fortune captures the architecture of past power and oppression – the grand plantation houses alongside the slaves’ huts –and the remnants of this legacy, showcasing what barely survives in the wake of US history. Beyoncé’ sings in “YA YA” (2024): “My family lived and died in America, hm / Whole lotta red in that white and blue, huh / History can’t be erased, oh-oh / Are you lookin’ for a new America? (America).” In “Night Ride Tracks, Archer, Florida” (2020), Fortune kneels down to capture the sunlight beaming on the old train tracks, which bear witness to the 1928 Rosewood massacre during the era of Jim Crow laws. In “AMEN” (2024), Beyoncé’s reminds her listener: “This house was built with blood and bone / And it crumbled, yes, it crumbled.

On the following page, Fortune presents a captivating portrait of his partner, Miranda, underscoring that his documentation of the American South is as personal as it is political. With roots in both the African-American and Chickasaw Nation communities, Fortune traverses rural towns that are close to his heart, pausing to engage in conversations with friends. Fortune embraces the formal conventions of documentary traditions whilst ushering us into novel sensations and uncharted emotional territories. Opening the book, we can almost grasp the wind, and, as we delve deeper, we feel the humidity of the Mississippi enveloping us, the scorching sun on the road casting its light upon each image. His photographs record what stands proud, what is forced to break, what disappeared but can still be traced. In Fortune’s photographs, people are praying, watching, playing, waiting, celebrating, caring and driving; leading an unremarkable life because ‘attending to the infraordinary and the quotidian reveals why the trivial, the mundane, or the banal are in fact essential to the lives of the dispossessed and the possibility of black futurity.”’ Texas also serves as the backdrop for Fortune’s personal grief – as depicted in his first book I can’t stand to see you Cry (2021) – and serves as a place where remembrance holds paramount importance, as evidenced by the tattooed dates of key life moments on his friend’s skin. Fortune’s Hardtack is a poignant tribute, both a requiem for those lost and a homage to those whose actions altered the course of history. Yet, it is also a celebration, capturing the essence of joy found in everyday moments and special occasions alike. It is this unique and delicate coexistence of remembrance and revelry that imbues Hardtack with its profound resonance, showcasing the depth of Fortune’s artistic maturity.♦

All images courtesy the artist and Loose Joints. © Rahim Fortune

Hardtack is published by Loose Joints.


Taous R. Dahmani is a London-based French, British and Algerian art historian, writer and curator. Her expertise centres around the intricate relationship between photography and politics, a theme that permeates her various projects. Since 2019, she has been the editorial director of
The Eyes, an annual publication that explores the links between photography and societal issues. She is an Associate Lecturer at London College of Communication, University of the Arts London. Dahmani’s curatorial work was showcased at Les Rencontres d’Arles, France, where she curated the Louis Roederer Discovery Award (2022). Dahmani is set to curate two exhibitions at Jaou Tunis, Tunisia (2024).

Images:

1-Rahim Fortune, Windmill House, Hutto, Texas, 2022.

2-Rahim Fortune, Praise Dancers, Edna, Texas, 2022.

3-Rahim Fortune, Willies Chapel, Austin, Texas, 2021.

4-Rahim Fortune, Hardware, Granger, Texas, 2018.

5-Rahim Fortune, Highway I-244 (Greenwood), Tulsa, Oklahoma, 2021.

6-Rahim Fortune, Gas Pump, Selma, Alabama, 2023.

7-Rahim Fortune, Deonte, New Sweden, Texas, 2022.

8-Rahim Fortune, Ace (Miss Juneteenth), Galveston, Texas, 2022.

9-Rahim Fortune, Night Ride Tracks, Archer, Florida, 2020.

10-Rahim Fortune, Tinnie Pettway, Gee’s Bend, Alabama, 2023.

11-Rahim Fortune, VHS Television, Dallas, Texas, 2021.

12-Rahim Fortune, Abandoned Church, Otter Creek, Florida, 2020.

Les Rencontres d’Arles 2022

Top three festival highlights

Selected by Tim Clark

1000 Words Editor in Chief, Tim Clark, reports back from the opening of Les Rencontres d’Arles 2022, the 53rd edition of the bright, bushy-tailed festival set across the evocative Roman town in the south of France. Among the many exhibitions to salute are Norwegian-Nigerian artist Frida Orapabo’s How Fast Shall We Sing at Mécanique Générale in the dazzling new Parc des Ateliers at LUMA Arles, Rahim Fortune’s I can’t stand to see you cry as part of the Louis Roederer Discovery Award curated by Taous R. Dahmani and Sathish Kumar’s Town Boy, resulting from the first Serendipity Arles Grant in 2020. However, three particularly ambitious thematic exhibitions stand out for their complex visual dialogues and multiple vantage points onto the world and world of images.


1. But Still, It Turns
Musée départemental Arles antique 

The wall text that introduces But Still, It Turns, the exhibition Paul Graham has curated at Musée départemental Arles antique – which, among many notable bodies of work, features Emanuele Brutti and Piergiorgio Casotti’s Index-G, Vanessa Winship’s she dances on Jackson and Curran Hatleberg’s Lost Coast – states, brazenly: ‘there is no didactic story here, no theme or artifice. None is asked, none is given.’ Isn’t no story, like when artists claim their work as ‘apolitical’, a story in itself? In this case, the ‘story’ – or rather, quasi-framework or exhibitionary complex – is that of a statement of positions on a mode of photography identified as so-called ‘post-documentary’. Its meta-narrative draws from a shared approach, or attitude, propagated by this judiciously selected group of photographers who, in one way or another, turn their lens on intimacies and small episodes of contemporary social realities in the US. Specifically, working in the observational mode, they opt to summon quiet or unremarkable moments as a means of possessing the weight of the world: a town and its inhabitants gripped by industrial decline, sounds and situations at the fault lines of race, environment and economy and so on. Yet there are no easy narratives – all is posed as fleeting and messy but also empathetic and genuine; what Graham refers to as ‘a consciousness of life, and its song’.

Originally staged at ICP, New York, But Still, It Turns in the context of Les Rencontres d’Arles is ultimately a hymn to traditional yet enduring forms of photography, its serious artistic application allowing ‘a kind of pathway through the cacophony – a way to see and embrace the storm.’ Graham writes: ‘It could guide you through the randomness and grant the simple mercy of recognising life in all its prismatic wonder’. That such complex dialogues emerge across these meaningful articulations from life, demonstrates the artists’ deep levels of understanding of the bonds between looking and caring, perceiving and visualising. And, unsurprisingly, there are echoes of Graham’s own work at every turn, redolent of a mountain towering over a landscape, whose image can only be glimpsed through its reflection in a lake below.

2. Songs of the Sky. Photography & The Cloud
Monoprix

More curatorial (in the sense of thematising a group exhibition around a singular subject) is Songs of the Sky. Photography & The Cloud at Monoprix, the vast and industrial first-floor area above the French supermarket of the same name. As its title suggests, the show takes the motif of the cloud in photography as a starting point as well as the metaphor of ‘the cloud’ as a technological network that enables remote data storage and computing power commonly associated with the Internet. Of course, the empirical mass of photographs, i.e. those that exist on our smartphones and laptops – baby and cat photographs, holiday snaps, selfies, sunsets and pictures of food – or, by a similar token, those which have been generated by surveillance cameras and satellites, exist ‘up there’ in the cloud, finding in cables, screens and hard drives material form as part of the techno-capitalist system. Artists, on the other hand, have attempted to subvert and critique its principles, infrastructure and structures, ergo this exhibition.

Upon entering, one’s eyes don’t know where exactly to look; there are multiple sightlines onto numerous works from different artists but that’s certainly not a bad thing. As such, striking juxtapositions between historical material from the 19th century, such as Charles Nègre or Louis Vignes’ photographs, and contemporary works by Lisa Oppenheim, Trevor Paglen, Andy Sewell and Simon Roberts come to bear. What emerges is a tension between the sky as something sublime, as something which, for centuries, represented a way of ‘divining the future’ as James Bridle has put it, versus the far-from-romantic means we conceive of it today: a digital phenomenon that transfers and commodifies our data, with dramatic consequences for climate emergency and geo-politics. ‘Will the immense carbon footprint of the technical cloud accelerate global warming to such an extent that in the future it will be rare to see many faced cloud creatures floating by in the sky?’, is just one of the powerful research questions driving the exhibition. Organised with skill and clear focus, Songs of the Sky. Photography & The Cloud has been curated by Kathrin Schönegg of C/O Berlin, who was also the recipient of the 2019 Rencontres d’Arles Curatorial Research Fellowship.

3. Ritual Inhabitual, Geometric Forests: Struggles on Mapuche Land
Chapelle Saint-martin Du Méjan

Native to the temperate rainforests in southern Chile are medicinal plants and a rich biodiversity that have bore witness to endless cycles of construction and destruction. Monocultures of pine and eucalyptus have now come to dominate in service to the hugely lucrative paper pulp industry in the region, Chile being the world’s fourth largest producer from its 2.87 million hectares of plantations after all. The Mapuche (“people of the earth”), meanwhile, have lived on this land long before the country was founded and now find themselves at the heart of an ongoing battle: their spiritual relationship with the environment is at odds with an aggressive, global economy based on the exploitation of natural resources, leading to violence between nationalist organisations, industrialists’ private militia and the army’s specialist anti-terror squad. In response to this conflict, Chilean collective Ritual Inhabitual, created by Florencia Grisanti and Tito Gonzalez García, embarked on a five year photographic and ethnobotanical investigation that encompasses delectable Wet Collodian plates as well as large and medium format colour photographs of members of the Mapuche community, plants, trees and cloning laboratories of a forestry company. That this project encompasses a broad range of cohorts is one of its strongest features, for it offers a multi-vantage point perspective onto the subject at hand. Deftly translated by the exhibition’s curator, Sergio Valenzuela-Escobedo, whose careful choreography of the space highlights these competing factions, Geometric Forests: Struggles on Mapuche Land mediates the political desire to open up a debate on the nature of consumption at large.

While aesthetics may write the script in other environmentally-concerned exhibitions, here a form of infrastructural activism that reflects on the actual conditions and implications of its own making is evident. The exhibition is therefore highly commendable for harnessing the possibility of thinking and talking otherwise about making art in a less extractive fashion, allied with the admission that an entirely eco-friendly exhibition of images is an impossibility. One obvious example of mitigating impact has been to reuse existing frames from previous exhibitions. Similarly, printing directly onto material surfaces bypassing the need for paper or gluing the print onto an archival cardboard as opposed to an aluminium substrate in the event the former cannot be achieved. Even some of the temporary exhibition structures are stripped back to show the bare bones utilisation of wood, itself dismountable and reusable. There is also a kind of in-built critique present in the blurb of the accompanying book, published with Actes Sud, with a particularly striking section revealing a consciousness and self-awareness. It reads: ‘3029 kilos of Munken Kristall paper and 814 kilos of Soposeet paper were used for the book, as well as 220 kilos of Munken Kristall paper for the cover. Based on 24 trees for one tonne of paper, 96 trees were needed to transform those 4,063 kg of paper into 2,200 copies of this book.’ Clearly, in Geometric Forests, its participants take up the responsibility to call for new socio-environmental-political forms of collaboration. Maybe, via the propositions and practices contained in this exhibition, there is a way forward together, a sustainable means of co-existence.♦

Les Rencontres d’Arles 2022 runs until 25 September 2022.



Tim Clark is Editor in Chief of 1000 Words and Artistic Director for Fotografia Europea in Reggio Emilia, Italy, together with Walter Guadagnini and Luce Lebart. He also currently serves as a curatorial advisor for Photo London Discovery and teaches at The Institute of Photography, Falmouth University.

Images:

1-Vanessa Winship, from the series She dances on Jackson, 2013, part of But Still, It Turns. Courtesy the artist and MACK.

2-Curran Hatleberg, from the series Lost Coast, 2016, part of But Still, It Turns. Courtesy the artist and MACK.

3-Kristine Potter, Drying Out, from the series Manifest, 2018, part of But Still, it Turns. Courtesy the artist and MACK.

4-Trevor Paglen, CLOUD #865 Hough Circle Transform, 2019, part of Songs of the Sky. Photography & The Cloud. Courtesy the artist and Pace Gallery 

5-Andy Sewell, Known and Strange Things Pass, 2020, part of Songs of the Sky. Photography & The Cloud. Courtesy the artist and Robert Morat Gallery.

6-Noa Jansma, Buycloud, 2020-21, part of Songs of the Sky. Photography & The Cloud. Courtesy the artist.

7-Ritual Inhabitual, Paul Filutraru, Rapper in the group Wechekeche ñi Trawün, Santiago de Chile, 2016, part of Geometric Forests: Struggles on Mapuche Land. Courtesy the artists.

8-Ritual Inhabitual, Biotechnology series, Chile, 2019, part of Geometric Forests: Struggles on Mapuche Land. Courtesy the artists.

9-Ritual Inhabitual, Geometric Forests series, Chile, 2018, part of Geometric Forests: Struggles on Mapuche Land. Courtesy the artists.