BEN ZANK: WAS IT ALL A DREAM?

Ben Zank seems like one of those who goes all-in on one hand. At least, that’s the impression he gives. It’s his very persona the one that lays in the middle of a road or appears deep in frozen water since he started expressing himself through images at the age of 18. His pictures have all the same thing in common: a kind of surrealism that mixes the unsettling, a feeling of danger and that something was going on just before and will continue afterwards. His images are oniric, as in those nights when you find it hard to digest your food and that last gin&tonic can take you both to a marvellous world or a Roland Topor film. We like him very much, we do.

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SARA ZAHER: AUSTRALOVE

In the same way that we’re a little bit scared of Australia ’cause all the animals there can and want to kill you, we profoundly love that country due to the amazing creative talents it hosts, like that of Sara Zaher. Her work is one of those that breaks borders; with cultural references that everybody can understand, her use of colour, acid irony and an impeccable aesthetics turn her into one of those IG accounts that it’s a pleasure to follow. La Monda approves.

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MEATWRECK: UNCOMFORTABLE

There’s something terribly surrealistic in Meatwreck. In the same way that the posts about object annoyingly misplaced and not matching tyles provoke as much fascination as irrepressible hatred, Meatwreck has that morbid attractive side that only phobias have. Just have a look at that people that suffer from trypophobia (like our Editor in Chief) that simply can’t stop watching pictures that emanate just that, extreme trypophobia, while they’re about to be sick. Meatwreck is a photography duo conformed by Mitra Saboury and Derek Paul Boyle. Their creations are, above all, unexpected; they feed on uncomfortable sensations as if they were taken out of a feverish dream. They are temptation that you can’t stop looking at even though you don’t really know why; surrealism with a twist in impeccable aesthetics. Obviously, we love it.

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SEBASTIAN WEISS: THE CORNER

Sebastian Weiss makes me wonder that the world of paraphilias is more extense than you would think of. There’s something in his photography that is so unique, so perfect and so precise that makes something even sensual out of concrete. This German photographer fascinated with architecture defies logical reasons; in the same way that planes fly, his buildings seem light, attractive and free of context.
Parts of sky and structures are what, basically, fill up Weiss’s work in such an harmonic way they seem to be alive. If there was a Playboy of buildings, it would be Sebastian’s. And I would probably end up like those people that married national monuments and objects.
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JAMES BALL aka DOCUBYTE: DEEP DOWN IN THE BACKGROUND

We can’t help but feeling a kind of inner joy, a shiver down the spine, everytime we come across someone like James Ball aka Docubyte. It’s like drinking the first sip of Coca-Cola that one day of the year you feel like having one without adding whisky to it or feeling like a sugary rubbish addict.
James Ball is bold. He’s not scared of making the background the protagonist of the compositions he creates; the central objects that, one would think, should take up most of the space, sometimes get lost in plastic lively colours in Ball’s work. And he does is too right. With his amazing visual taste, photograpy and retouching combo he’s been published nearly everywhere you’d like to be published in the UK. So, yes, let’s follow Docubyte.
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JUCO PHOTO: HOW TO RISK IT

We all need a risk dose that adjusts to our limits; from bungee jumping to dyeing your hair blue or buying a t.A.T.u t-shirt, every human being needs a small shot of adrenaline now and then.

Julia Galdo and Cody Cloud know about the limits of risking. In fact, they’ve bought a house with a garden in said limit because that’s home for them; that’s where they’re comfortable and that’s easy to see. With amazing talent they united in the same picture composition, colour, surprise and volume creating on the spot picture that are full of references but that also build their own discourse. Bravo for the risk.

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STEPH WILSON: 1992

It’s not cool to repeat clichés and we know that age doesn’t matter, size neither, that you can’t judge the book by its cover and that high school hotties age awfully. But Steph Wilson was born in 1992; she’s 24. 24 years old, which is less that a quarter of a century. She’s very young. And that’s where the magic is.

Wilson lives in London and she’s an artist, a photographer and has an incredibly developed style. It seems that her images are moments in stories where you don’t really know what’s going on, but you definitely know that something unsettling is going on and you don’t really know if you want to stay to discover it. Her discourse on gender and beauty only makes it more perfect. Blessed youth and its emojis.

Wilson vive en Londres y es artista, fotógrafa y tiene una mirada increíblemente trabajada. Da la sensación de que sus imágenes son momentos de historias en los que no se llega a saber exactamente qué está pasando, pero todos intuímos que algo inquietante hay en todo esto y no sabemos si queremos averiguarlo. Su discurso sobre el género y la belleza no hacen más que perfeccionarlo. Bendita juventud y sus emojis.

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TASTE OF STREEP: WHAT ELSE DO YOU WANT

Meryl Streep is to cinema what dirt is to your keyboard; something essential. The actress has shown during her extensive career that she basically can do everything, that she adapts to anything and that, moreover, she’s gonna do it perfectly, in style, dressed in classy feminism and a praiseworthy indifference aura to whatever people say about her
The authors of the @tasteofstreep instagram account must share our opinion, because they have decided to take Meryl Streep out of the celluloid and put her just… everywhere. There’s no pie, milkshake, pasta dish or pizza portion that can not be enriched by Streep, that will soon substitute the oh so disgusting bouillon cube. Meryl, you’re the ketchup of our hearts.
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CHRISTTO & ANDREW: FUCK YOU, LAWRENCE OF ARABIA

When we speak about the Arab world, a lot of cliché images come up to our minds: burkas, Aladdin, kebabs, Lawrence of Arabia, yihad, Daesh, camels, moustaches in turbans, flying carpets and more Daesh. Not much more finds space in our concept of “arabesque”.
But, what happens when a Southafrican and a Puertorican travel to Doha (Qatar) and decide to demolish all the Oriental archetypes that Occident media show us? That’s how the work by Christto Sanz and Andrew Weir is born; kitsch photography of ladies in jilbabs in soap opera actress pose and drinking Coke in the middle of the dessert. An african-puertorican look that talks about the malleability of identity and the mix of East/West cultures in such a globalized word. Sand pop under the view of two geniuses; death to the bland Eastern archetype, long live to the baklava flavoured party!

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CLAYTON CUBITT: THE FREAKS

In every primary school classroom there’s always a kid in the last row, being all shy and picking his nose, nibbling on the eraser or his own tshirt collar and that goes into 404 Error everytime he hears “Physical Education”. This kids are usually the “freaks” and they get to extreme conducts in their adulthood due to their uniqueness: they turn into KKK members, drug addicts or in geniuses.

We’re not sure if Clayton Cubitt was one of the weird ones chewing his shoelaces, but it’s obvious witnessing his work that he’s a genius. Nudes behind curtains, albinos, horse-women fashion shootings or a whole book dedicated to Die Antwoord are some of the ingredients that feed the imagery of this more than well known American photographer. Going on his web is a references slap on the face. Clayton Cubitt, you’re entering the La Monda Olympus!

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