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          <title><![CDATA[cartel del nombre de la estación con « Samani » y « Nishisamani » | taso583]]></title>
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          <title><![CDATA[primer plano de un letrero con los nombres de lugares Urakawa y Hidaka | taso583]]></title>
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          <title><![CDATA[Cartel de carretera con nombres de lugares japoneses y flechas direccionales | 木葉]]></title>
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          <description><![CDATA[Descarga en cizucu una imagen gratuita y de alta calidad de Cartel de carretera con nombres de lugares japoneses y flechas direccionales tomada por 木葉.]]></description>
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          <title><![CDATA[Bicicletas y un letrero de estación frente a Odabayashi | エルエルシー]]></title>
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          <title><![CDATA[Cartel de nombres de estación con “Obasute” y otros topónimos | 木葉]]></title>
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          <description><![CDATA[Descarga en cizucu una imagen gratuita y de alta calidad de Cartel de nombres de estación con “Obasute” y otros topónimos tomada por 木葉.]]></description>
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          <title><![CDATA[That day,  Smoke hung in the air.  Mahjong tiles cracked against the table like small acts of violence.  Under a single lamp, the players emerged just enough to be seen, then slipped back into shadow.  No names.  No introductions.  No one cared who you were outside the light. All that matters, IS TO WIN.   This is a recreation of what it was like,  The outfits were planned to fit how it was like.  and only the lady boss of the house was the prominent one. the rest were just name less and fodder in the place. | Justin Ignatius Seow]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Justin Ignatius Seow en cizucu.]]></description>
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          <title><![CDATA[Fanesca is an ongoing body of work about how people are shaped by place, history, and belief—and how they reshape them in return through image, dress, and ritual. Rooted in Ecuadorian folklore and contemporary fashion, it examines cultural identity, self-styling, and nostalgia under global influence, tracking how tradition adapts rather than disappears. The project takes its name from fanesca, an Easter dish that blends Indigenous practices with Spanish Catholic beliefs—an everyday metaphor for syncretism and survival.  In its current chapter, La Santísima Tragedia, I focus on the Mama Negra celebration in Latacunga: a living fusion of Indigenous, Spanish, and African cultural lineages. The fiesta—also linked to the Virgen de la Merced—draws on a local vow to honour the figure credited with stopping Cotopaxi’s eruption in 1742. By photographing the ceremony through the language of fashion, portraiture, and performance, I trace how communities carry memory, negotiate power, and build collective resilience—where culture becomes a social infrastructure in the face of change. Fanesca has been featured by Vogue, Forbes, Metal Magazine, Lula Japan, among others. | Lucho Dávila]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Lucho Dávila en cizucu.]]></description>
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