The war in Ukraine has rekindled the importance of images in international mobilization, but the album of photographs of human tragedies has been growing for years without all human suffering being visible.

Samuel Fosso has made the self-portrait a lifeline to overcome the violence and injustices that have marked the history of the Central African Republic. In the 1970s, he fulfilled his desires with photography; today, he uses his images to navigate between continuing pleasure and suffering. In the China of the 1990s, Rong Rong and his troupe of artists found in performance
a way to resist the social oppression that the drive for economic growth insisted on keeping invisible.

On the other side of the world, Brazilian photographer Lázaro Roberto has recorded the beauty and struggle of his people in an educational and affirmative mission. His work gave rise to the Zumví Afro Photography
Archive, one of the most important independent collections in the country.

In his collages and writings, Arthur Jafa has also rewritten history, seeking justice by denouncing the concealment by European modernism of African roots and making evident the contribution of Black art to world culture.

Using mutilated newspapers to highlight their photographic coverage, Mabe Bethônico eloquently shows us the crimes of Mariana and Brumadinho and the perverse association between industry and journalism. Who has the right to build a future, asks art historian
T. J. Demos. In order to combat the racial violence of capitalism, one must listen to Black, transsexual and indigenous art.

In the informality of Fernanda Liberti’s photographs, a silent, libertarian rebellion stitches alliances between distinct identities. Her visual album is included as a poster for ZUM subscribers.

In her photographs and writings, Castiel Vitorino Brasileiro teaches us that her transmutation is not only a form of healing, but a revolutionary opportunity for images, languages and ourselves to find new ways of being and existing.