‘Trees, mostly the older and weaker ones, were toppled by the wind, dragging neighbouring trees down, just like someone contaminated by the virus would contaminate another.’
‘Laxmi’s religious aura is exceptional among hijras, who do not usually reach deity status.’ Rana Dasgupta introduces the photography of Anita Khemka.
‘Eerily animated, it’s as if the gloves persist in their attempt to express something that can’t be reduced to words, something untranslatable.’
‘Architecture can be employed as a form of violence and violation.’
‘The twin cities of El Paso and Ciudad Juárez lie either side of the US–Mexico border.’
‘I was close to my own father, which many people are not.’ Ruchir Joshi remembers his son.
Photographs of the Rhône Glacier by Simon Norfolk and Klaus Thymann, with an introduction by Francis Hodgson.
‘They say they are too busy but actually they are too busy for you.’ A story by graphic novelist Tommi Parrish.
‘There are glimmers of the reality beyond, the promise of redemption even in the darkest places.’ Adam Foulds introduces the photography of Ian Willms.
‘Every time I remember that moment, I can’t help but cry. I was only twenty-one years old.’ A photoessay by Noriko Hayashi.
‘This series showcases a more intimate kind of human absence.’ Nam Le introduces the photographs of Bruno Fert.
‘It’s perhaps a truism that acts of devotion both make and unmake the devotional object.’ Daisy Lafarge introduces the photographs of Nicola Lo Calzo.
‘When I was 4 or 5 I sent the Queen of England drawings of monsters.’
‘It’s a shadow-world: strangely familiar, all the same.’ Daisy Hildyard introduces Mattieu Gafsou’s photoessay on transhumanism.
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