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          <title><![CDATA[papan nama stasiun bertuliskan “Samani” dan “Nishisamani” | taso583]]></title>
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          <title><![CDATA[close-up papan nama bertuliskan Urakawa dan Hidaka | taso583]]></title>
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          <title><![CDATA[Papan penunjuk jalan dengan nama tempat berbahasa Jepang dan panah arah | 木葉]]></title>
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          <description><![CDATA[Unduh gambar berkualitas tinggi bertema Papan penunjuk jalan dengan nama tempat berbahasa Jepang dan panah arah yang diambil oleh 木葉 secara gratis di cizucu.]]></description>
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          <title><![CDATA[Sepeda dan papan petunjuk di depan stasiun Odabayashi | エルエルシー]]></title>
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          <description><![CDATA[Unduh gambar berkualitas tinggi bertema Sepeda dan papan petunjuk di depan stasiun Odabayashi yang diambil oleh エルエルシー secara gratis di cizucu.]]></description>
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          <title><![CDATA[Papan nama stasiun bertuliskan “Obasute” dan nama tempat lain | 木葉]]></title>
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          <description><![CDATA[Unduh gambar berkualitas tinggi bertema Papan nama stasiun bertuliskan “Obasute” dan nama tempat lain yang diambil oleh 木葉 secara gratis di cizucu.]]></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[Lihat lebih banyak karya luar biasa dari Justin Ignatius Seow di cizucu.]]></description>
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          <pubDate>Mon, 16 Mar 2026 19:36:54 GMT</pubDate>
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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[Lihat lebih banyak karya luar biasa dari Lucho Dávila di cizucu.]]></description>
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          <pubDate>Mon, 30 Mar 2026 21:51:53 GMT</pubDate>
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            <media:description><![CDATA[Lihat lebih banyak karya luar biasa dari Lucho Dávila di cizucu.]]></media:description>
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