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          <title><![CDATA[Una mano sosteniendo una tableta con un stylus blanco dibujando en una pantalla en blanco | sakurai]]></title>
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          <description><![CDATA[Descarga fotos Una mano sosteniendo una tableta con un stylus blanco dibujando en una pantalla en blanco de alta calidad y gratuitas tomadas por sakurai en cizucu.]]></description>
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          <pubDate>Mon, 28 Oct 2024 09:59:09 GMT</pubDate>
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          <title><![CDATA[Tableta negra y stylus blanco colocados uno al lado del otro | T15]]></title>
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          <title><![CDATA[#レコード #LP | mar00ram]]></title>
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          <description><![CDATA[Descarga fotos Disco de vinilo amarillo en un tocadiscos con stylus de alta calidad y gratuitas tomadas por mar00ram en cizucu.]]></description>
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          <pubDate>Sun, 02 Feb 2025 19:01:26 GMT</pubDate>
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          <title><![CDATA[A stylish man of a few words seated in front of his shop at a local market in Maubisse, Timor Leste. | Lavita Kala]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Lavita Kala en cizucu.]]></description>
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          <pubDate>Sat, 21 Mar 2026 15:27:31 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[Explora más de las increíbles obras de Lucho Dávila en cizucu.]]></description>
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          <pubDate>Mon, 30 Mar 2026 21:51:53 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[Explora más de las increíbles obras de Lucho Dávila en cizucu.]]></description>
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          <pubDate>Mon, 30 Mar 2026 21:51:53 GMT</pubDate>
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          <title><![CDATA[A stylish man seated in front of his shop at a local market in Maubisse, Timor Leste.  Virgin exhibitor here. Timor Leste has been a place that's close to my heart since I first travelled there in 2018, and again in 2024. So felt it was only fitting to showcase something from there for my first exhibition 😊  Having gained independence only in 2002, Timor is Asia's youngest country. Inspired after watching John Pilger's documentary 'Death of a Nation: The Timor Conspiracy', I set out in search to better understand how a country is post-war.  I solo travelled around Timor for 2 months capturing different stories and lived experiences during the war from Timorese folks, and learnt so much about what happened during, before, and after the war from a local's perspective. It was one of the most eye-opening, truly heartwarming, and utterly heart-wrenching experiences of my life, but what stuck was the wisdom, quiet strength, resilience and beauty of the Timorese which are forever etched in me.   This also kick-started my journey towards questioning Western media reportages, biases, and their heavy but not necessarily full-picture influence on us, their global audience. We really do need to hear more voices from within, not just Western perspectives.  I hope to encourage opening up convos about Timor Leste, and would love for more people to learn about Asia's youngest country. | Lavita Kala]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Lavita Kala en cizucu.]]></description>
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          <pubDate>Sat, 21 Mar 2026 15:27:31 GMT</pubDate>
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