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I have so many secrets buried in me.

Josef Breitenbach, El - Hochbahn, New York, 1942.

Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light.

Stills from “A Most Violent Year” (2014)

The Duke of Burgundy (Peter Strickland, 2014): empty spaces

Photograph: Gilles Favier

Mankind was born on Earth. It was never meant to die here.

Unemployment, boredom, drug abuse–these are the difficulties that people of Ballymun had to face. Built in the 1960s, the housing complex was intended to relocate the inhabitants of inner-city slums to the outskirts of Dublin. Although the neighbourhood changed a lot since that time, the Dutch photographer Martijn van de Griendt has managed to capture its spirit in the early 2000s.  Due to the lack of sufficient public amenities, the Ballymun community suffered from many social problems such as rampant crime and alcohol abuse. Characteristic for its so-called „seven towers”, the high rise blocks of flats, the area was even mentioned in one of U2 songs. Because of the bad reputation of the neighbourhood, its residents have also met with discrimination while seeking jobs outside the suburb. Despite the negative perception of Ballymun, a strong sense of pride prevailed among the community. Its everyday life was captured in the project of Dutch photographer Martijn van de Griendt.

At  the beginning of the 20th century, agriculture was thriving in Hungary. And by the end of the 1940s over a million people lived on Hungary’s farms—people were poor, but they managed to get by. But during the Communist regime the farms were sucked into collectives, and individual landowners lost their private farms. By the early 1990s, only 200,000 farmers remained, and their ranks are now fading fast.Hungarian photographer Akos Stiller’s project on some of those old world farmersjust won a first place award in the prestigious POYi photo competition and was featured in National Geographic’s Hungarian edition last year. I talked with Stiller recently over email to find out more about this rich photographic project and the people who still live on Hungary’s farms.

Mario De Biasi, Tram, Milan, 1950s

Jakob Tuggener, Die Fabrik (The Factory), 1943

Jacques Tati, Playtime, 1967

Yushima housing complex, Tokyo | © Jan Vranovsky, 2015

‘Idris Khan creates densely layered composite photographs by superimposing seminal cultural artifacts. They enact a kind of destruction by blurring the source materials to the point of almost complete illegibility, but at the same time, they embody, and pay tribute to, the sheer labor and singular vision of the original creators such as Bernd and Hilla Becher, a husband-and-wife team known for their decades-long project of documenting industrial structures, such as water towers and blast furnaces. Khan’s condensation of the Bechers’ work into single images underscores its obsessive, serial nature. The resulting ghostly palimpsests also suggest a melancholy reminder of the passage of time, especially suitable in this context, given that most of the industrial-era structures the Bechers catalogued were on the brink of extinction.’

Manchester, 1949, Charles Sheeler

Josef Koudelka, Ireland, 1976