Ana Cichowicz

Three heads. . . . #rromastreet #spicollective #street_avengers #streetfinder #bnw_demand #worldphotogallery #sublimestreet #dreamermagazine #burnmyeye #shadows_magazine #dreaminstreets #Womeninstreet #spetaculummagazine #streetphotographersfdn #street_moments #collettivopunto21 #street_badass #unexp_collective #littleboxcollective #womenstreetphotographers #mystreet_women #wegalleryphotos #effe4 #hcsc #des_photomag #iso833 #postal5punto6 #thephotosector #newstreetwave #collecting_street_moments

Hunger. . . . #rromastreet #spicollective #street_avengers #streetfinder #bnw_demand #worldphotogallery #sublimestreet #dreamermagazine #burnmyeye #shadows_magazine #dreaminstreets #Womeninstreet #spetaculummagazine #streetphotographersfdn #street_moments #collettivopunto21 #street_badass #unexp_collective #littleboxcollective #womenstreetphotographers #mystreet_women #wegalleryphotos #effe4 #hcsc #des_photomag #iso833 #postal5punto6 #thephotosector #newstreetwave #collecting_street_moments

Step inside the flower to breathe in its scent. . . . #rromastreet #spicollective #street_avengers #streetfinder #bnw_demand #worldphotogallery #sublimestreet #dreamermagazine #burnmyeye #shadows_magazine #dreaminstreets #Womeninstreet #spetaculummagazine #streetphotographersfdn #street_moments #collettivopunto21 #street_badass #unexp_collective #littleboxcollective #womenstreetphotographers #mystreet_women #wegalleryphotos #effe4 #hcsc #des_photomag #iso833 #postal5punto6 #thephotosector #newstreetwave #collecting_street_moments

ANA CICHOWICZ | Hi again, this is @gustavominas taking over for a couple of weeks. I'm featuring some of my recent series as well as some Brazilian photographers I’ve had the chance to know over the last few years. Today I have the pleasure of showcasing Ana Cichowicz's lovely work (@anacichowicz ) . "I am a Brazilian photographer and social anthropologist based in Germany. My work emerges at the intersection of art, philosophy, and anthropology, exploring world-making practices and the poetics of everyday (street) life. Working across street, documentary, and conceptual photography, I approach photography not as a representation of a pre-existing reality, but as a practice of drawing things together. By deciding what enters the frame, what remains outside it, and how bodies, gestures, objects, atmospheres of everyday life are brought into relation within the image, photography becomes, for me, capable of bringing forth worlds that would not exist without the moment of exposure."

It’s incredibly meaningful when a street photography exhibition happens on the street itself. The Feria de San Marcos receives around 390,000 visitors every single day and stands as one of Mexico’s most important historical and cultural spaces. What an incredible experience it was to be part of this. I’m deeply grateful to @alonso_diaz_de_anda and the entire @ecos_cardinales and @postal_5.6 team for making this encounter possible between the work of photographers from different parts of the world and the people and streets of Mexico. Ecos Cardinales is a juried exhibition, and I’m proud that one of my photographs was selected for its fourth edition, and thrilled to share that another of my images has just been selected for the fifth, still to come! ♡

⚡️ Meet the Jury of #RomePhotoLab 2026 📸 Discover the eyes shaping this year’s vision. Ana Cichowicz (@anacichowicz ) is a Brazilian artist and social anthropologist based in Germany. Her work emerges at the intersection of art, philosophy, and anthropology, exploring world-making practices, nature and environment, and the poetics of everyday street life. Working across performative, documentary, and street photography, her practice investigates the ontological condition of the image. For Ana, photography is not about portraying reality but about bringing things into being, a poetic and political gesture that opens fissures in the real and allows new worlds to emerge. Her photographs have received awards at international festivals and have been exhibited in galleries and biennials worldwide. 👉 Ana will serve as a jury member for the “Streets of the World - Series” category alongside Ximena Echague and Jonathan Jasberg, who will be responsible for selecting the finalist photographs. 🔴 Submissions are OPEN for RomePhotoLab 2026 – Rome International Street Photography Contest! Enter now via the link in bio and check the Limited Time Offer 👉 www.romephotolab.it #RomePhotoFestival #PhotoFestival #PhotoContest #StreetPhoto

Sometimes summer and the journeys we make within it come to us as a promise that our body will finally dissolve into something larger than itself. The sun, the water, time expanded by the absence of the need to be productive, everything seems to conspire to blur the boundaries between what we are and what surrounds us. And yet, there, immersed in an inescapable blue, something resists. The grain of sand that scratches the skin, the plastic of the float that creaks, the sound of the water crashing against the stones and not merely merging with them, the falling light that weighs on the shoulders. In several of my projects that engage with ecological questions, or rather, with ways of world-making, I highlight the sharing of matter from which all things, including us, are made. In any case, even if I choose, at certain moments, to speak of what we are made of together, I am by no means defending a kind of undifferentiated continuity. To share matter implies, above all, variation. What makes any relation possible is not fusion, but difference itself. And perhaps, especially in contemporary environmental and ecological discourses, there has been a confusion between difference as opposition, which produces hierarchies (humans over animals, animals over plants, etc.), and difference as multiplicity, which not only stands against this logic, but also destabilizes it. It is precisely in this field of differences, where there is no dissolution, but partial compositions, that these images, taken in Croatia, on different beaches of the Adriatic in 2025, were made. What summer and the displacements we make during this time allow, then, is, from within the dilated time that imposes itself, not to dissolve into the landscape, but to estrange it, to recognize differences, including that of this other duration in relation to the coded time of everyday life and, in this process, to make difference cease to be perceived as an obstacle and become that which makes encounter, and therefore life, possible. *This project thinks alongside Deleuze, Strathern, and others. #unexp_collective #observadoresurbanos #ricoh_gr_women #ricoh_gr_photography #womeninstreet

Photographing as One Who Stays. A conversation with Brazilian photographer Alex Almeida. Read the full interview on Street Macadam website. Thank you, @alexalmeidafoto , for this exchange. It is a gift to the photographic community to encounter your work more closely. Text and interview by @anacichowicz 🟡Friendshipment: @streetmoment / @street_avengers @dreaminstreets / @streetphotographybrazil @livorno_photo_meeting / @bnw_demand @trevisophotographicfestival @observadoresurbanos @file_photographic_magazine ••• 🟡 Partners: @rce_foto_fr / @wandrd ••• #streetphotographers #streetphotography

“Ruínas Luminosas nasceu de uma viagem a Praga, no inverno de 2024–2025. Caminhando pela cidade e pela Charles Bridge, fui impactada pela interação entre as pessoas que por ali passavam e as inúmeras e imponentes estátuas que habitam aquele lugar há séculos. Não queria, porém, explorar essa relação pensando em sujeitos que observam e objetos que são observados. Queria investigar a vida que pulsa na própria matéria, e foi aí que entrou o dodge and burn, essa antiga técnica usada desde a fotografia analógica, da qual fiz uso de maneira exagerada. Ao fundir corpos numa mesma massa escura e iluminar apenas os rostos, percebi, porém, que não estava apenas manipulando a exposição, mas escavando a imagem. Passei, então, a tratar o arquivo RAW como um bloco geológico denso e o meu gesto como o de uma arqueóloga. Nessas imagens, “quem” esses rostos são importa menos do que a matéria compartilhada, aquilo de que cada um desses corpos é feito. Nesse sentido, carne e pedra, céu e terra, passado e presente deixam de se apresentar como opostos. Os rostos, antes de serem “alguém”, tornam-se ruínas luminosas. E a fotografia, por sua vez, deixa de operar como representação ou revelação de algo que preexiste à imagem, para se tornar um acontecimento: encontros provisórios de forças, durações e materialidades através dos quais o mundo, ainda que por um instante, toma forma dessa particular maneira”. Ana Cichowicz @anacichowicz Quando vi fotos deste projeto, pedi para Ana correr para cá! Não digo mais nada. Tirem suas próprias impressões e acessem seus próprios maravilhamentos 😄, flanando por este conjunto de imagens. Obrigada, Ana, por estar por aqui nestes dois dias! 🙌🏽📸💫 Mel Neves @mel.ns . . . #fotografiaderua #streetphotography #bnwstreetphotography #boraflanar #fotografasbrasileiras

“Antes de me tornar fotógrafa, eu já era antropóloga e poeta. As palavras sempre foram minhas companheiras, seja no processo de elaborar reflexões filosóficas e teóricas, seja como forma de experimentação artística. Quando me mudei de país, porém, ainda não falava o idioma daquele novo lugar. E foi nesse processo migratório que a prática de criar imagens acabou ganhando um novo espaço na minha vida. Isso não quer dizer que eu não fotografasse antes, nem que a imagem não fosse um objeto de investigação para mim, já que tratei do cinema no meu doutorado. Mas foi quando eu estava na Itália e, depois, na Alemanha que percebi que, naquele momento em que ainda aprendia os idiomas desses países, eu podia, ainda assim, contar histórias — inclusive para aquelas pessoas que não falavam a minha língua materna — por meio das imagens cuja existência era possibilitada pela minha presença naqueles lugares. E foi então que percebi: eu não queria mais apenas estudar imagem. Eu queria criá-las, vê-las surgir, emergir junto com elas através do gesto fotográfico. O meu envolvimento com a fotografia de rua, por sua vez, é resultado do meu apreço pelos mundos que se criam a cada momento, pelas circunstâncias que os tornam possíveis, pelas minúcias poéticas do cotidiano. Fazer fotografia de rua é estar aberta às peripécias da vida”. Essa é a Ana Cichowicz @anacichowicz , fotógrafa brasileira. A criatividade da Ana provoca os olhos de quem se depara com suas imagens. Obrigada por flanar por aqui, Ana! 😊📸💫 . . . . #boraflanar #fotografiaderua #streetphotography #fotografíacallejera #streetphotographers

This photographic project turns toward bodies — human bodies, the bodies of the city, the bodies of stone, the body of the photographic image itself — treating them as active elements within a temporary ecology. Flesh and stone, in this sense, are not opposing substances, but variations of the same vital intensity. Faces, in turn, are no longer merely the identity of a subject, but an event of light, a luminous ruin. Bodies cease to be figures and become momentary configurations of matter and time. In any case, in order to make these ontological proximities perceptible, it was necessary to operate a displacement from semiotics (what the image means) toward a physics of affects (what the image, as matter, does, including what it does to us in the moment we encounter it). These are the final images from the project “Luminous Ruins” I’ve been sharing here. The complete text is available on my website. Pt nos comentários.

Many of the statues on Charles Bridge have survived extreme events, floods and wars. Over the course of history, however, many were gradually replaced by copies. When I was in Prague, the people crossing the bridge did not seem to care that the work before them was no longer the one from the seventeenth century, but a version produced in the twenty-first. Perhaps because, in this context, what is at stake is not the material authenticity of the work, but the performance of the gesture. The statue neither replaces nor reproduces the original; it “performs” the role of the other stone and, in doing so, reinscribes the gesture under new material conditions. What we witness is not the persistence of a form, but repetition as difference*, through which the encounter between different bodies and the bridge produces new affects. These photographs and the full discussion of this project are already on my website; today, however, I remembered to bring them here as well. *here I think with Deleuze #contemporyart #conceptualart blackandwhitephotography #visualanthropology