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          <pubDate>Fri, 02 Aug 2024 01:31:57 GMT</pubDate>
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          <title><![CDATA[I’ve always been interested in pushing the vertical format on social media — seeing how much story I could fit into a small rectangle.  Around 2019, I started blending different images together, mostly out of instinct. I wasn’t trying to say anything specific. I was just experimenting, chasing energy, and making work that felt exciting.  When I looked at this image, it made me remember a version of myself I hadn’t thought about in a while.  Someone younger, reckless with energy, shooting almost every other weekend, posting constantly, chasing progress and social credit without questioning it.  This image feels like those two versions existing at the same time. Not a before and after, but an overlap.  It made me wonder if we forget how foolishly passionate we once were about the things we’re still doing every day. | Don Lim]]></title>
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          <pubDate>Thu, 15 Jan 2026 16:03:31 GMT</pubDate>
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          <title><![CDATA[Living in Happyland  In 2019, I spent a weekend in Aroma, Tondo, Manila — an informal settlement often known as Happyland. The name comes from Hapilan, meaning dump site, a reminder of the harsh environment the community lives in.   I was invited by a friend who runs a shelter for boys in the area. During my time there, I met children and families living in extreme poverty, many relying on scavenging at nearby dump sites to survive. Yet what stayed with me was not just the hardship, but the warmth of the people. I was welcomed openly, with laughter, curiosity, and generosity that felt deeply sincere.   As a photographer, I struggled with how to tell this story. Rather than focusing only on deprivation, I chose to document moments of hope — the smiles, friendships, and quiet resilience of everyday life. The children spoke freely about their dreams of becoming nurses, engineers, and software developers, believing strongly in a future beyond their present circumstances.   This experience reshaped my understanding of happiness, showing me how dignity, community, and hope endure even in the most difficult places. | Victor Tan KH]]></title>
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          <description><![CDATA[Guarda altre splendide opere di Victor Tan KH su cizucu.]]></description>
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          <pubDate>Sun, 18 Jan 2026 21:43:45 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[Guarda altre splendide opere di Lucho Dávila su cizucu.]]></description>
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          <pubDate>Mon, 30 Mar 2026 21:51:53 GMT</pubDate>
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