Motel Mirage
© AlmaKarinaMotel Mirage is an ongoing series created by Claisse Tom (photographer) and Karina Rikun ( installation artist), working as a duo through the AlmaKarina studio.
“We wanted to reimagine these transient, utilitarian spaces and transform them into surreal still lifes. Born out of extensive travels through the American deserts, this project seeks to capture the essence of what we have seen and felt there. We embraced the interplay of confinement and vastness, transforming both motel rooms and desert landscapes into stages for ephemeral art, or capturing them raw.
Inside the motel rooms, the installations merged everyday objects with unexpected elements to evoke a sense of timelessness. These spaces, often transient and impersonal, became intimate and surreal, reflecting human presence and absence in equal measure. In the desert, we extended this approach, incorporating not only the natural elements of the landscape—sand, rocks, light, and shadow—but also human-made objects, often the same ones used in the motel rooms. These objects, symbols of human rituals around food, gathering, and beauty, stood in contrast to the raw desert environment.
The connection between these two spaces lies in the dialogue between humanity and its surroundings. In both the motel and the desert, we explored how human rituals—rooted in comfort, nourishment, and aesthetic pursuit—persist even in spaces that challenge or unsettle us. Through these installations, we invite reflection on the resilience of these rituals and the profound, often poetic, ways they shape our experience of place and self, even in the face of impermanence.
Motel Mirage is an exploration of holiness and beauty in unexpected places wether it be through the grandeur of desert landscapes, the austere intimacy of motel rooms, or the humble elegance of everyday objects—a fruit, a fork, a bunch of dry weeds. Each image seeks to reveal the sacred in the ordinary, inviting viewers to pause and reconsider the world around them.”
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BIOARK
© SchirraGiraldi (Manuela Schirra and Fabrizio Giraldi)Between aesthetics and science, historical naturalistic collections acquire new values. In 2024, at Harvard University, biologists sequenced the genome of an extinct, flightless bird of the New Zeland, called the little bush moa, using his DNA extracted from the toe bone of a museum specimen.
The ancient DNAs or the components accumulated in the tissues of museum specimens can today provide fundamental information for future economies. Not just “Jurassic Park”-style biological reconstructions, but also reconstruction of single genes or, much simply, uses such as studying the trend of some pollutants in certain areas and therefore which elements have always existed and which are induced, or even more interesting, investigate traces of the now fundamental rare earth (REEs) thanks to the ability of some tissues to accumulate elements often precisely in the best-preserved parts such as feathers, fur, scales and bones, and therefore museum specimens of the historical naturalistic collections are to be considered as bioaccumuls own of different parts of the world that can help to avoid vain and expensive mining investigations.
Bioark is a visual story through details of the animal specimens collected by the Novara Expedition that interprets and testifies to the future of naturalistic museum specimens.
The Novare Expedition (1857-1859), a conceptual and modern Noah's Ark that collected relics and samples for the progress of humanity, stands out among all the expeditions of the nineteenth century for having collected the highest number of specimens. 26,000 individual samples of natural history were collected, of which 300 mammals, 1,500 birds, 950 amphibians, 2,000 fish, 6,550 shells, 13,000 insects, 950 crustaceans, 500 molluscs, 60 skeletons, 50 skulls, 120 nests and 250 eggs.
150 years ago, over 2 years of navigation and 22 ports between India, Indonesia, China, Australia, New Zealand, Brazil and other countries – Gibraltar, Madeira, Rio de Janeiro, Cape of Good Hope, St. Paul's Island and Amsterdam Island, Ceylon, Madras, Nicobar Islands, Singapore, Java, Manila, Hong Kong, Shanghai, Ponape Island, Sikayana Islands, Sydney, Auckland, Tahiti and Valparaiso.
The museum animal specimens are today significant databases about the alarm disclosed by IUCN (International Union for Conservation of Nature) in 2022, about over 40,000 animal species at risk of extinction, a number that has increased by 30% in just 15 years and the data gets worse year after year.
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Swifties -What’s Your Era?
© Dougie WallaceAs Taylor Swift’s Eras Tour sweeps across the globe, it’s on track to gross over $1 billion by the end of 2024. Economists even started talking about the "Swift effect" or Swiftenomics. Rumour has it that the tour's impact might have played a role in the Bank of England reportedly held off on an August interest rate cut. With 1.2 million fans attending concerts in the UK, each spending an estimated average of £848 on the overall concert-attending experience, the surge in spending sparked a short-term bump in inflation. And while Taylor’s busy taking over the world, her latest album is conquering the charts in more than 25 countries. Her songs explore universal themes of love, heartbreak, and self-discovery, like the songs of many artists of her generation and prior. However, only a handful of artists manage to create such a powerful point of identification. The cultural impact of this tour is so profound that it’s practically made the globe smaller—or at least brought it under one giant Swiftie flag.
Sure, there’s a marketing machine running at full steam behind the scenes but Taylor’s got the Midas touch when connecting with her fans. A decade ago, back when Tumblr was still a thing, Taylor was already mastering the art of fan engagement. Remember ‘Swiftmas’? She sent presents to 32 fans. Nowadays, she’s chatting with over 280 million followers on Instagram like it’s a casual group text. Didn’t she even say in her documentary that her superfans coined the term Swiftie? (which she then copywrited in 2017) This era isn’t just about Taylor—it’s about the fans. Swifties don’t just listen to the music; they wear it. They’re like living, breathing Taylor Swift mood boards. These aren’t just costumes; they’re a celebration of the connection fans feel to Taylor and her work. Every one of Taylor’s musical eras has inspired a distinct style, embraced by fans with enthusiasm. They have created a vibrant fashion culture that mirrors the evolution of their idol.
The authenticity of that community is fascinating from a social documentary photographic point of view. It is a world in its own right. It has its own language and codes that proudly suggest belonging to the fan community. Concerts are where Swiftie fandom truly shines. As fashion and music are inseparable for Taylor, this combo plays a crucial role in shaping the story of this generation’s most influential artist. Attending a Taylor Swift concert isn’t just about hearing the music; it’s about cosplaying your favorite Taylor era. Fans arrive decked out in elaborate, era-specific outfits. From the cowboy boots of Fearless to the edgy black leather of Reputation, the vintage glam of 1989, the pastel dreaminess of Lover, or the cosy cottage-core vibes of Folklore, or a prom dress that recalls “You Belong With Me, the outfits are as iconic as the songs themselves.Taylor Swift's slogan T-shirts often feature memorable lyrics, quotes, and phrases from her songs, albums, or public statements. They've become a popular way for fans to express their connection to Taylor Swift's music and persona. That’s without mentioning the ‘long suffering’ dads, a stand-alone T-shirt-wearing segment of concertgoers, with slogans usually to do with ‘forking out’ the money for the concert. Alternatively, dads get a shout-out in the form of another popular slogan ‘But daddy, I love him’. Her lucky number is 13, inked on her fans' hands.
The handmade friendship bracelets inspired by Midnights are a story in their own right. Nothing says “Swiftie for life” like trading homemade jewellery with strangers. The DIY aspect of Swiftie fashion is particularly striking. Fans pour their creativity into hand-painting jackets, customizing trainers, and crafting accessories that incorporate lyrics, song references, and imagery from Taylor’s discography. Some are outright funny – like the guy wearing a plain white T-shirt with hand-written words to the tune of ‘he’s looking for a ticket’. Others have resorted to DIY placards in a desperate attempt to get in. Tickets are sold out. It’s a well-known fact that one can’t get a ticket for love or money – and even that shortage has become a communication currency. It’s become an internal joke.
In the Taylor Swift Era, fashion isn’t just about clothes—it’s about living the stories and emotions Taylor’s music brings to life.
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Inheritance - The Land is Weeping
© Greg. C. HollandWho will inherit Palestine? In the 76 years since the Nakba (the Catastrophe), Palestine as a land and a people have been changed forever by Zionist settlers from Europe. Lines were drawn and redrawn, a 708 km wall was built, checkpoints and watchtowers erected, villages were decimated, homes were demolished or taken; an endless list of atrocities.
Who will inherit Palestine? The trees, the fruit, the crops, the land? All year round the land gives - 76 crops, 76 harvests. The water in Palestine is diverted, taken and sold back to a captive population. The Jordan river, the farmers lifeline for irrigation, has been purposefully polluted by occupying forces. The natural springs in the hills of Bethlehem nourish a sprawling valley of crops, tended to by young boys from the village while Israeli soldiers pour concrete into a spring well in Hebron. Who will inherit Palestine?
Who will inherit Palestine when the Nakba generation pass on? Generational trauma and unlived dreams bleed into the sub-narrative of the youth. An aunt in Jordan, a brother in Lebanon, parents in the West Bank, the family village decimated in Gaza, a lover in Tunisia, all travel permits denied. Who will inherit the olive trees your grandfather planted? 76 Crops, 76 harvests. Armed settlers are burning the olive trees again, the earth will inherit the ashes. The diaspora, with hopes to return one day to prune in the spring, harvest in the early winter. The occupied, with hopes to leave and swim in the Mediterranean.
Who will inherit Palestine? The swirling sounds of calls to prayer meander through the valleys like a bird migration, unsure of when to leave or where to land. A violin weeps from a rooftop in Ramallah, while midnight machine gun fire and dawn chorus sound grenades keep us awake until morning. “Every night, all we hear is boom boom boom” he said, pointing his invisible gun to the sky.
“Would you rather” I asked, “have the ability to fly or be invisible?”
“Be invisible” he said. “So I could just walk out of here, past the checkpoints and soldiers and just leave. They’d shoot me if I could fly”.
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Edusaster
© Michele CamiciaOne in four of the world’s school-age children live in countries affected by humanitarian crises such as conflicts, natural disasters and disease outbreaks. About 78 million children are either already missing out on their education, receiving poor-quality schooling or at risk of dropping out of school altogether.
Education is one of society’s foundations, but it is severely tested in crisis contexts like the 2023 earthquake in Turkey or the ongoing war in Ukraine.
Edusaster is a powerful testament to the resilience and hope of young students affected by humanitarian crises. In a compelling narrative, the stories of students clutching their backpacks tightly—symbols of a future they refuse to abandon- are interwoven with images of destroyed schools, devastated by events that seem determined to erase any possibility of learning.
The backpacks, held tightly by these children and adolescents, stand as a powerful symbol of defiance. They hold not only their dreams, books, and pens but also represent the restart of the education process. Just as backpacks are used to carry essential learning tools, they also carry the weight of hope and the will to rebuild, serving as a beacon for a brighter future amidst the ruins. Each photograph of a student with their backpack is a testament to their determination and resistance against the loss of normality and safety.
Contrasting the sweetness and fragility of these young lives are the images of destroyed educational facilities, now reduced to empty skeletons. Each damaged structure carries the weight of interrupted education, of places once filled with life, voices, laughter, and learning. However, their presence in the project does not represent destruction alone; it is also the strength of rebuilding, with each backpack symbolising survival and the promise of starting anew.
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