"In September 2021 I lived in the streets. Invisible to the others. I imagined I had magic powers that allowed me invisibility."

Eshan Hasib

In this delicate and sensitive set of photographies, Eshan Hasib is the subject. "Absentees", a topic that relates to him deeply and intimately due to his experience in 2021.

These are human beings portrayed alongside their belongings, their objects, their animals, etc. Walking or sleeping on the streets, bridges, or parks of Paris. Living through extreme experiences. The greatest accomplishment of Hasib, his mastery, lies in the fact that he can capture that "instant" in which these persons cease to be "invisible", showing us in brutal yet poetic fashion the apathy of humanity. He shows us our habit of not seeing them, of ignoring them because in so doing, we don´t have to question our own insensitivity towards this harsh reality.

Hasib´s photography is a mirror that reflects upon the human condition. Each one of us is represented in these images: the woman on the phone as she steps out of the supermarket, the boys playing football on the field, the couple taking a stroll by the river, these are all but a few examples of the images that portray us…

Eshan Hasib thought he had the "magical" power to not be seen when he lived in the streets in 2021. Now, the artist accomplishes a magical feat, but in reverse. Through his photography, he makes this people visible; they exist in the flesh. Hasib´s objective is to allow them to be "ignored" no more, so that, as a human collective, we may search for and find a solution to this cultural and social problem.

Hasib lives and works in Paris.

The work of portraiture is a complex action. It's an intromission into the other, something that goes beyond our physical, ethical, and cultural boundaries and, it must be said, beyond our subjective prejudices.

Photography is just that, an effort to subvert reality, to extricate ourselves from the zone of cultural peace and comfort that our world forces upon us.

The work of Emma provides a link to these precepts. It locates us within a generational insight, an erotic, sensuous, complacent, and accepting insight. All of these are concepts explored through the ages of human existence (from within its most secret cynicism and silence, a form of perversion that is conflictive).

Desire and submission are evident in her work, overcoming the script and format imposed on us by old forms of photo-narratives: stories of visual linearity.

The work of Emma is an indifferent whisper that speaks by way of neatly arranged sets, colors, and postures adopted by her models. They never cease to invoke a generational tone that creates a "genre of sensuality". Her textures are obvious sensual provocations, saturated signifiers that plague her compositions.

There is no doubt that Emma, as a visual artist, emerges as an eruption from her own pieces, leaving it to us to contemplate and become part of this explosion.

Once again, our favorite "Chilango" charms us with his ever hip Pop Art creations of Urban scenes. Pedestrians are coming and going to the tune of Mexico City's grill of streets in the bustling colonias of the city center. Rodrigo Reynoso accompanies us to the rhythms of this bustling city with its musical hum of traffic and chatter. True color is ever important in this artist's eouvre.

The city's occupants are accompanied by the ever colorful hounds and baby bears so iconic to his work. Having grown up in New York City, I can certainly equate with the extraordinary vibe of this work. Bravo Reynoso.

by Margaret Failoni

Where there are volcanoes, there are earthquakes. And after several months of Mount Vesuvius spewing ashes over the Neapolitan sky, on November of 1980 a level seven earthquake devastated the Irpinia, southern Naples and surrounding area. One of Italy's foremost art dealers and collectors, Lucio Amelio worked diligently for two years and in 1982 presented the world with the outstanding Terrae Motus exhibition, presented to the public in the 19th century mansion Villa Campolieto in the San Giovanni neighborhood located at the foot of Mount Vesuvius.

Over 70 works were specifically created by the world's leading artists of the 80s. The collection is now owned by the Lucio Amelio Foundation and is exhibited from time to time in such extraordinary locations as the Loggia di Caserta (a 19th century castle and grounds designed by Vanvitelli located just north of Naples).

As of late, Mexico's Popocatepetl volcano not only has been spewing ashes but occasional flows of lava, presenting scenes of disquieting beauty. There continue to be small non dramatic earthquakes in Mexico City on a regular basis, but the 2017 earthquake did major damage to several neighborhoods. The most recent major quake -without much damage- was on the same day and hour in 2019. Given the never ending succession of earthquakes which plague Mexico in a continuous dance of near death, it occurred to me that this driving force of nature would and could also effect the creative genius of the many Mexican and international artists living in this country. And so, on a much less ambitious scale, The Terrae Motus exhibition at the Intersection Gallery was born. Eighteen international artists have created unique work for the exhibition:

Ana Quiroz, Arturo Elizondo, Antonio Chaurand, Daniela Edburg, Enrique Guillén, Ian Johnson, Iván Puig, Marián Roma, Nahum Zenil, Pascual Hijuelos, Ramiro Martínez, Rodrigo De la Sierra, Santiago Corral, Sergio Garval, Víctor Hugo Pérez, Inefable Yui Sakamoto, Zoë Segal

Terrae Motus will be open to the public for a three month period at the Galería Intersección spaces in the Aurora Art and Design Center in San Miguel de Allende.

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