
From Lundi matin #475, 13/05/2025.
Walter Benjamin said somewhere that salvation will come from children. But what if children are starved, murdered?
Then every hungry, murdered child will come back to haunt this world and shatter it. All disordered, they will accomplish something great, something innocent for the air, taking revenge on death in the guise of life: humanity.
Let it come, let it come, the time of the assassins of the assassins.
It began with the cries of children, it will end filled with their laughter.
And it will be the Flood and the Cataracts that will see Israel fall: from heaven to earth. Though slower than lightning. And all the theology buried, dust returned to dust! And all the prophecies with it. For only he who falls breaks. And only he opens himself to the fugue that breaks.
– What the devil! Who would have thought that grace meant falling?
Atelier Oncléo
Alors chaque enfance affamée, tuée, reviendra hanter ce monde pour le briser. Toutes désordonnées, elles accompliront quelque chose de grand, d’innocentant pour l’air, en se vengeant de la mort aux apparences de vie : l’humanité.
Qu’il vienne, qu’il vienne, le temps des assassins des assassins.
Cela commença sous les cris des enfants, cela finira plein de leurs rires.
Et ce seront Déluge et Cataracte, qui verront Israël tomber : du ciel à la terre. Quoique plus lent que l’éclair. Et toute la théologie enterrée, rendue au sol ! Et toutes les prophéties par cette dernière. Car seul qui tombe se fend. Et seul s’ouvre à la fugue qui se fend.
— Diable ! Qui l’eût cru, que la grâce : c’était la chute?








For Sebastião Salgado (1944-2025)
What I most want my pictures to do is to lead to reflection and then action. The revolution only comes through evolution.
Sebastião Salgado (British Journal of Photography, 24/05/2025)
“I photographed the world”, Sebastião Salgado once said. And we could add that he photographed the world from the perspective of those at it’s “periphery”, from the vantage point of its exploited and marginal territories, its labourers, its poor, its refugees, its indigenous, its children, and finally, from “nature” itself, endeavouring always to become a part of those he photographed, for as he would also, to be a photographer was a way of life, of sharing lives, of being with those he photographed. (The Guardian, 08/02/2024)
The vastness and density of his work makes any selection of presumably representative photographs of his work difficult, if not absurd. Our modest effort in a reading of his photographic essay Genesis was already an exercise in humble interpretation. And now, with his death, it is obviously for each to explore the worlds that he endeavoured to share.
Below, to acknowledge and celebrate his work, we limit ourselves to publishing some of his own reflections on his time with us.
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