To look at a photograph is to look at the past. As a simple representation of past sorrow and death, a photograph can make us suffer when we look at it. But when photography is particularly considered it builds a creative narrative flow and it sparks more than memory. It becomes a switch to cast new light on our present. Life after death. Afterlife.

In The Epilogue, Laia Abril tells the story of the Robinson family and the aftermath of losing their 26-year-old daughter, Cammy, to bulimia. Working closely with the family, Abril reconstructed the young woman’s life through flashbacks: memories, testimonies, objects, letters, places and images.

Andrea Botto’s 19.06_26.08.1945 was produced in memory of his grandfather’s journey home across Europe at the end of the Second World War: from Nazi prisoner-of-war camps in North Germany to his home in Tuscany. Dedicated to all the Italian Military Internees who shared this terrible experience, many of the project’s images were collected from the Internet by typing the names of the towns they passed through and the year. Others are taken from a small notebook that belonged to his grandfather, from his passport and from the letters he sent and received during his incarceration.

Heaven’s Gain by Justin Maxon is a study of the physical and psychological implications of gun violence – a deep investigation into the emotional, physical and spiritual landscape that emerges from the unresolved trauma of crimes not yet served by justice. With 300 unsolved murders in the last two decades, Chester, PA, USA is a microcosm of the structural and racial inequalities that pervade American society.
Mauro Bedoni