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	<title>Bite! magazine &#187; South America</title>
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		<title>Brazilian Street Children Are Often The Descendants Of Slaves</title>
		<link>http://www.bitemagazine.net/2010/11/08/brazilian-street-children-are-often-the-descendants-of-slaves/</link>
		<comments>http://www.bitemagazine.net/2010/11/08/brazilian-street-children-are-often-the-descendants-of-slaves/#comments</comments>
		<pubDate>Mon, 08 Nov 2010 19:29:33 +0000</pubDate>
		<dc:creator>Diederik Meijer</dc:creator>
				<category><![CDATA[Documentary Portraiture]]></category>
		<category><![CDATA[Brazil]]></category>
		<category><![CDATA[documentary photography]]></category>
		<category><![CDATA[humanitarian photography]]></category>
		<category><![CDATA[Portraiture]]></category>
		<category><![CDATA[poverty]]></category>
		<category><![CDATA[South America]]></category>
		<category><![CDATA[street children]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=11339</guid>
		<description><![CDATA[In "The Undesirables," Chantal James spent five years (2005-2010) photographing a group of Rio street kids. James captures their youthful joie de vivre looks beyond their fragile social status to identify a community with its own set of ideals regarding beauty, love, happiness and other human conditions. Brazilian street children are often the descendants of slaves and ostracized through a system of veiled racism. The intimate pictures and videos, portray ordinary moments in the lives of the abandoned teenagers, living what would be often considered humiliating private experiences, in public.]]></description>
			<content:encoded><![CDATA[In "The Undesirables," Chantal James spent five years (2005-2010) photographing a group of Rio street kids. James captures their youthful joie de vivre looks beyond their fragile social status to identify a community with its own set of ideals regarding beauty, love, happiness and other human conditions. Brazilian street children are often the descendants of slaves and ostracized through a system of veiled racism. The intimate pictures and videos, portray ordinary moments in the lives of the abandoned teenagers, living what would be often considered humiliating private experiences, in public.]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Relationships Are Inherently Difficult</title>
		<link>http://www.bitemagazine.net/2010/10/04/relationships-are-inherently-difficult/</link>
		<comments>http://www.bitemagazine.net/2010/10/04/relationships-are-inherently-difficult/#comments</comments>
		<pubDate>Mon, 04 Oct 2010 18:39:37 +0000</pubDate>
		<dc:creator>Diederik Meijer</dc:creator>
				<category><![CDATA[Human Interest]]></category>
		<category><![CDATA[Argentina]]></category>
		<category><![CDATA[Family]]></category>
		<category><![CDATA[human interest]]></category>
		<category><![CDATA[Interiors]]></category>
		<category><![CDATA[Portraiture]]></category>
		<category><![CDATA[relationships]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=10757</guid>
		<description><![CDATA[Katrina d'Autremont: This body of work, " Si Dios Quiere" (If God Wants) explores issues of intimacy and distance within my mother’s family in Argentina. The house where she grew up and the people who are part of that life serve as characters. The word "Family" connects us, but the extent of our connection depends on several factors. Families can be separated by physical distance, but often it is more complicated and the relationships themselves form walls and separations. "Si Dios Quiere" which means "If God Wants," attests to the fact that relationships are inherently difficult.]]></description>
			<content:encoded><![CDATA[Katrina d'Autremont: This body of work, " Si Dios Quiere" (If God Wants) explores issues of intimacy and distance within my mother’s family in Argentina. The house where she grew up and the people who are part of that life serve as characters. The word "Family" connects us, but the extent of our connection depends on several factors. Families can be separated by physical distance, but often it is more complicated and the relationships themselves form walls and separations. "Si Dios Quiere" which means "If God Wants," attests to the fact that relationships are inherently difficult.]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Devil Lives Inside The Whirlwind</title>
		<link>http://www.bitemagazine.net/2010/09/10/the-devil-lives-inside-the-whirlwind/</link>
		<comments>http://www.bitemagazine.net/2010/09/10/the-devil-lives-inside-the-whirlwind/#comments</comments>
		<pubDate>Fri, 10 Sep 2010 11:12:18 +0000</pubDate>
		<dc:creator>Recommending Viewer</dc:creator>
				<category><![CDATA[Documentary Conceptual]]></category>
		<category><![CDATA[Brazil]]></category>
		<category><![CDATA[conceptual documentary photography]]></category>
		<category><![CDATA[desert]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=10307</guid>
		<description><![CDATA[Joao Castilho about his series "Whirlwind:" The sertão is a place in Brazil, a geographic region, but also, it’s a place inside us. Geographically, it’s associated with the desert environment, where sowing is complicated, where water is scarce, where the access is tortuous, I mean, where life is hard. Within all this isolation, people in sertão have learned to live along another world, which is not so tangible, not so immediate, not so material, or in other words, a world which is not so real. It’s a metaphysical, or a fantastic world, if we want. In sertão, for instance, people believe that the devil lives inside the whirlwind. Follow link to see full presentation.]]></description>
			<content:encoded><![CDATA[Joao Castilho about his series "Whirlwind:" The sertão is a place in Brazil, a geographic region, but also, it’s a place inside us. Geographically, it’s associated with the desert environment, where sowing is complicated, where water is scarce, where the access is tortuous, I mean, where life is hard. Within all this isolation, people in sertão have learned to live along another world, which is not so tangible, not so immediate, not so material, or in other words, a world which is not so real. It’s a metaphysical, or a fantastic world, if we want. In sertão, for instance, people believe that the devil lives inside the whirlwind. Follow link to see full presentation.]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Waltzing With Normalcy</title>
		<link>http://www.bitemagazine.net/2010/08/30/waltzing-with-normalcy/</link>
		<comments>http://www.bitemagazine.net/2010/08/30/waltzing-with-normalcy/#comments</comments>
		<pubDate>Mon, 30 Aug 2010 10:12:17 +0000</pubDate>
		<dc:creator>Mark Rykoff</dc:creator>
				<category><![CDATA[Documentary Portraiture]]></category>
		<category><![CDATA[Documentary Reportage]]></category>
		<category><![CDATA[Ciudad Juárez]]></category>
		<category><![CDATA[domestic violence]]></category>
		<category><![CDATA[girls]]></category>
		<category><![CDATA[Mexico]]></category>
		<category><![CDATA[Quinceañera]]></category>
		<category><![CDATA[rite of passage]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=10233</guid>
		<description><![CDATA[A photo essay by Keith Dannemiller on Paloma, a fifteen year-old girl growing up in an orphanage Ciudad Juárez due to her mother's potential to be abusive and who celebrates her Quinceañera - a Mexican rite of passage for girls - sponsored by the city government. With an introduction by TIME magazine photo editor Mark Rykoff.]]></description>
			<content:encoded><![CDATA[A photo essay by Keith Dannemiller on Paloma, a fifteen year-old girl growing up in an orphanage Ciudad Juárez due to her mother's potential to be abusive and who celebrates her Quinceañera - a Mexican rite of passage for girls - sponsored by the city government. With an introduction by TIME magazine photo editor Mark Rykoff.]]></content:encoded>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>An Unflinching Glimpse Of Rio&#8217;s Parallel Realities</title>
		<link>http://www.bitemagazine.net/2010/08/17/an-unflinching-glimpse-of-rios-parallel-realities/</link>
		<comments>http://www.bitemagazine.net/2010/08/17/an-unflinching-glimpse-of-rios-parallel-realities/#comments</comments>
		<pubDate>Tue, 17 Aug 2010 10:30:42 +0000</pubDate>
		<dc:creator>Sophia Greiff</dc:creator>
				<category><![CDATA[Documentary Reportage]]></category>
		<category><![CDATA[black and white]]></category>
		<category><![CDATA[Brazil]]></category>
		<category><![CDATA[crime]]></category>
		<category><![CDATA[death]]></category>
		<category><![CDATA[documentary photography]]></category>
		<category><![CDATA[drug trafficking]]></category>
		<category><![CDATA[drugs]]></category>
		<category><![CDATA[police]]></category>
		<category><![CDATA[South America]]></category>
		<category><![CDATA[violence]]></category>
		<category><![CDATA[war on drugs]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=10149</guid>
		<description><![CDATA[From June 16th to June 20th 2010 the second Lumix Festival for Young Photojournalism took place in the city of Hannover. Along with lectures of renowned photographers, panel discussions and portfolio reviews, more than 1400 images were presented in sixty exhibitions. A close insight into the favelas of Brazil’s second largest city was presented in João Pina’s photo essay "Gangland – Rio de Janeiro’s Urban Violence." In one of the most violent cities in the world Pina looked at both sides of the story, documenting young drug dealers and gang leaders, as well as police units going about their work with an oftentimes indiscriminate force. In a straight and unbiased fashion Portuguese photographer João Pina shows a cruel reality in which it is nearly impossible to escape the violence.]]></description>
			<content:encoded><![CDATA[From June 16th to June 20th 2010 the second Lumix Festival for Young Photojournalism took place in the city of Hannover. Along with lectures of renowned photographers, panel discussions and portfolio reviews, more than 1400 images were presented in sixty exhibitions. A close insight into the favelas of Brazil’s second largest city was presented in João Pina’s photo essay "Gangland – Rio de Janeiro’s Urban Violence." In one of the most violent cities in the world Pina looked at both sides of the story, documenting young drug dealers and gang leaders, as well as police units going about their work with an oftentimes indiscriminate force. In a straight and unbiased fashion Portuguese photographer João Pina shows a cruel reality in which it is nearly impossible to escape the violence.]]></content:encoded>
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		<slash:comments>2</slash:comments>
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		<title>Between Ciudad Juárez, Mexico and El Paso, Texas, USA</title>
		<link>http://www.bitemagazine.net/2010/07/27/between-ciudad-juarez-mexico-and-el-paso-texas-usa/</link>
		<comments>http://www.bitemagazine.net/2010/07/27/between-ciudad-juarez-mexico-and-el-paso-texas-usa/#comments</comments>
		<pubDate>Tue, 27 Jul 2010 08:49:40 +0000</pubDate>
		<dc:creator>Marta Daho</dc:creator>
				<category><![CDATA[Cityscapes]]></category>
		<category><![CDATA[Documentary Reportage]]></category>
		<category><![CDATA[black and white]]></category>
		<category><![CDATA[borders]]></category>
		<category><![CDATA[human interest]]></category>
		<category><![CDATA[Mexico]]></category>
		<category><![CDATA[South America]]></category>
		<category><![CDATA[USA]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=9511</guid>
		<description><![CDATA[This series of images accompanied by text is part of a larger installation called "Je suis la frontière" (I am the border) which encompasses a growing archive of audio and visual documents that explore the complexity of living in the US - Mexico borderland. The whole archive constitutes a personal cartography of El Paso and Ciudad Juarez, two cities that are at the same contiguous but divided by four international bridges. In her work, Vera seeks to challenge the limited and biased information that the media gives us about certain places in the world. She believes in approaching those places by listening to individuals, following their steps, and walking on the streets. She thus hopes to create a personal cartography of a place and to give presence to the voices and life stories behind the sometimes overwhelming statistics.]]></description>
			<content:encoded><![CDATA[This series of images accompanied by text is part of a larger installation called "Je suis la frontière" (I am the border) which encompasses a growing archive of audio and visual documents that explore the complexity of living in the US - Mexico borderland. The whole archive constitutes a personal cartography of El Paso and Ciudad Juarez, two cities that are at the same contiguous but divided by four international bridges. In her work, Vera seeks to challenge the limited and biased information that the media gives us about certain places in the world. She believes in approaching those places by listening to individuals, following their steps, and walking on the streets. She thus hopes to create a personal cartography of a place and to give presence to the voices and life stories behind the sometimes overwhelming statistics.]]></content:encoded>
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		<slash:comments>0</slash:comments>
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		<title>A Place Where You Can’t Say No</title>
		<link>http://www.bitemagazine.net/2010/07/15/a-place-where-you-can%e2%80%99t-say-no/</link>
		<comments>http://www.bitemagazine.net/2010/07/15/a-place-where-you-can%e2%80%99t-say-no/#comments</comments>
		<pubDate>Thu, 15 Jul 2010 14:13:09 +0000</pubDate>
		<dc:creator>Marta Daho</dc:creator>
				<category><![CDATA[Cityscapes]]></category>
		<category><![CDATA[Conceptual Photography]]></category>
		<category><![CDATA[Acapulco]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[beaches]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[hotels]]></category>
		<category><![CDATA[leasure industry]]></category>
		<category><![CDATA[Mexico]]></category>
		<category><![CDATA[South America]]></category>
		<category><![CDATA[swimming pools]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=9487</guid>
		<description><![CDATA[Acapulco is a place where you can’t say no. Elvis Presley said it this way in a song dating back to 1963 that had become popular a year earlier after the release of the movie Fun in Acapulco. In this installation project, the Mexican artist Pablo López Luz not only sheds light upon the topographic vision of different architectural structures and urban landscape but also to the classical imagery of a place full of glamour that has been vividly immortalized by the cinema and advertising industries.]]></description>
			<content:encoded><![CDATA[Acapulco is a place where you can’t say no. Elvis Presley said it this way in a song dating back to 1963 that had become popular a year earlier after the release of the movie Fun in Acapulco. In this installation project, the Mexican artist Pablo López Luz not only sheds light upon the topographic vision of different architectural structures and urban landscape but also to the classical imagery of a place full of glamour that has been vividly immortalized by the cinema and advertising industries.]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Ironic Allusions To Our Relationship With The Desert</title>
		<link>http://www.bitemagazine.net/2010/06/01/txt-3/</link>
		<comments>http://www.bitemagazine.net/2010/06/01/txt-3/#comments</comments>
		<pubDate>Tue, 01 Jun 2010 10:00:40 +0000</pubDate>
		<dc:creator>Patricia Gouvea</dc:creator>
				<category><![CDATA[Conceptual Photography]]></category>
		<category><![CDATA[Constructed Landscape]]></category>
		<category><![CDATA[Artistic installation]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[constructed landscapes]]></category>
		<category><![CDATA[desert]]></category>
		<category><![CDATA[Mexico]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=9189</guid>
		<description><![CDATA["In my photographs from the last few years, I have intervened upon the landscape, creating scenes or sets with a wide range of natural and manmade elements. In this way, amidst the sometimes oppressive vastness, I construct and photograph intimate spaces: some of them are metaphors for the painful desertification of the planet caused by man, while others work as ironic allusions to our relationship with the desert. The action I perform deals with reintegration: it’s a reflection on what the desert has lost, but also a way of restoring its ravaged memory through a personal intervention."]]></description>
			<content:encoded><![CDATA["In my photographs from the last few years, I have intervened upon the landscape, creating scenes or sets with a wide range of natural and manmade elements. In this way, amidst the sometimes oppressive vastness, I construct and photograph intimate spaces: some of them are metaphors for the painful desertification of the planet caused by man, while others work as ironic allusions to our relationship with the desert. The action I perform deals with reintegration: it’s a reflection on what the desert has lost, but also a way of restoring its ravaged memory through a personal intervention."]]></content:encoded>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>A Kite Lifts The Camera Up Into The Air</title>
		<link>http://www.bitemagazine.net/2010/05/31/a-kite-lifts-the-camera-up-into-the-air/</link>
		<comments>http://www.bitemagazine.net/2010/05/31/a-kite-lifts-the-camera-up-into-the-air/#comments</comments>
		<pubDate>Mon, 31 May 2010 10:00:23 +0000</pubDate>
		<dc:creator>Patricia Gouvea</dc:creator>
				<category><![CDATA[Constructed Landscape]]></category>
		<category><![CDATA[aerial photography]]></category>
		<category><![CDATA[Argentina]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[constructed landscapes]]></category>
		<category><![CDATA[kite]]></category>
		<category><![CDATA[landscapes]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=9183</guid>
		<description><![CDATA[Esteban Pastorino Díaz: "I wanted to create an ambiguous image that resembles the way we look at the scale models but which is actually a photograph of the real world. The main technical points that I defined for that were: the apparent short deep of field in the images, and the high point of view from which the images would be taken. The first effect is given by tilting the lens in relation to the film. For that I constructed a cardboard camera which has the lens in that position and fixed focus. To reach a high point of view, I use a kite that lifts the camera between sixty and four hundred feet up into the air.]]></description>
			<content:encoded><![CDATA[Esteban Pastorino Díaz: "I wanted to create an ambiguous image that resembles the way we look at the scale models but which is actually a photograph of the real world. The main technical points that I defined for that were: the apparent short deep of field in the images, and the high point of view from which the images would be taken. The first effect is given by tilting the lens in relation to the film. For that I constructed a cardboard camera which has the lens in that position and fixed focus. To reach a high point of view, I use a kite that lifts the camera between sixty and four hundred feet up into the air.]]></content:encoded>
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		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>Its Red Hue Became A Reference Of My Own Image</title>
		<link>http://www.bitemagazine.net/2010/05/30/its-red-hue-became-a-reference-of-my-own-image/</link>
		<comments>http://www.bitemagazine.net/2010/05/30/its-red-hue-became-a-reference-of-my-own-image/#comments</comments>
		<pubDate>Sun, 30 May 2010 10:00:36 +0000</pubDate>
		<dc:creator>Patricia Gouvea</dc:creator>
				<category><![CDATA[Conceptual Photography]]></category>
		<category><![CDATA[Brazil]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[hair]]></category>
		<category><![CDATA[South America]]></category>
		<category><![CDATA[Still Life]]></category>

		<guid isPermaLink="false">http://www.bitemagazine.net/?p=9170</guid>
		<description><![CDATA[Isabela Lira: "This series – Sobremim ("About Me") – has originated from a connection between my image and my hair. I noticed there was a connection between people’s perception and the colour of my hair, that generated almost an identity. Its red hue, very characteristic, became a reference of my own image. From that connection, I started to develop a series of work having my hair as the main focus. An instigating hair, invasive, which appropriated my identity. Hair that frames the face. And does it so much that it finally takes it, becoming my identity, a unique body, capillary.]]></description>
			<content:encoded><![CDATA[Isabela Lira: "This series – Sobremim ("About Me") – has originated from a connection between my image and my hair. I noticed there was a connection between people’s perception and the colour of my hair, that generated almost an identity. Its red hue, very characteristic, became a reference of my own image. From that connection, I started to develop a series of work having my hair as the main focus. An instigating hair, invasive, which appropriated my identity. Hair that frames the face. And does it so much that it finally takes it, becoming my identity, a unique body, capillary.]]></content:encoded>
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		<slash:comments>1</slash:comments>
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