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          <title><![CDATA[Una donna che cammina con un ombrello blu davanti a un muro nero con la parola CHANGE | 朽蓮 kyu-ren]]></title>
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          <title><![CDATA[Oranges hang on the branches as seasons change hands. | Lawrence Liou]]></title>
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          <pubDate>Mon, 16 Feb 2026 14:46:13 GMT</pubDate>
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          <title><![CDATA[One New Change - London  | PostcardsPictures]]></title>
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          <title><![CDATA['Changing Ground'   A white rhino stands against a backdrop of human development. As landscapes change, survival depends on how both species learn to exist within the same boundaries. | Jasmine Ee (Wildlife with Jas)]]></title>
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          <title><![CDATA[This photograph was made during a period when I found myself unable to articulate my thoughts around mortality. My friend, who is living with cancer, became a quiet presence through which these feelings surfaced.  The dried flowers reference what has already passed — fragility, time, and the inevitability of change. Through this image, I am trying to view death differently: to embrace its presence, and in doing so, to celebrate the life that remains. Often, we do not truly think about death until it touches someone close to us. | Lousycameraman]]></title>
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          <pubDate>Tue, 20 Jan 2026 16:30:45 GMT</pubDate>
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            <media:title><![CDATA[This photograph was made during a period when I found myself unable to articulate my thoughts around mortality. My friend, who is living with cancer, became a quiet presence through which these feelings surfaced.  The dried flowers reference what has already passed — fragility, time, and the inevitability of change. Through this image, I am trying to view death differently: to embrace its presence, and in doing so, to celebrate the life that remains. Often, we do not truly think about death until it touches someone close to us. | Lousycameraman]]></media:title>
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          <title><![CDATA[This is a photo of my old neighbour, Sarah. Over the 15 years I spent living next to her we chatted & exchanged views on all sorts - politics, jokes & inevitably, sometimes the weather.   Her stories about previous generations of people who lived on our road were fascinating - the lady who lived in the house before her said that, during the war, a bomb dropped in our garden!   Sarah used to be part of the Portobello arts scene in the 60's, so understands creative expression. When I suggested a photoshoot she was very much up for it. She was the matriarch of the family of all our families on our road. She's still there, sharing stories & being interested in everyone & everything. | AlwaysSnapping]]></title>
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          <pubDate>Wed, 01 Apr 2026 22:16:44 GMT</pubDate>
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          <title><![CDATA[This image was taken in my favourite haven of peace, nature and joy - Bushy Park in SW London, England. I've been there many, many times over the years and every time I visit it feels different : the light changes, the wildlife you see changes and the flora and fauna change too. This time in the evening there is my favourite. You feel the park slowing down, wildlife coming to rest as the light fades through daylight blues to beautiful oranges, yellows and reds. It's incredible that it's located in Greater London and all credit must go to The Royal Parks for all the work they do to make it a place of wonder. | Andy Craddock]]></title>
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          <description><![CDATA[Guarda altre splendide opere di Andy Craddock su cizucu.]]></description>
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          <pubDate>Mon, 06 Apr 2026 05:13:10 GMT</pubDate>
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            <media:description><![CDATA[Guarda altre splendide opere di Andy Craddock su cizucu.]]></media: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>
          <link>https://www.cizucu.com/it/photos/cu3LZEeOyIJhneSTLWrR</link>
          <description><![CDATA[Guarda altre splendide opere di Lucho Dávila su cizucu.]]></description>
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            <name>Lucho Dávila</name>
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          <pubDate>Mon, 30 Mar 2026 21:51:53 GMT</pubDate>
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            <media:description><![CDATA[Guarda altre splendide opere di Lucho Dávila su cizucu.]]></media:description>
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