Novis Corpus was born from the inspiration and will of French photographer Teresa Uzeda as an artistic and emotional response to the first weeks of the COVID-19 confinement and with the intention of raising funds to support the health teams that these days are fighting on the front line to protect the population.

The call was immediately answered by a group of 48 European photographers (Spain, France, Italy, Belgium and Germany) who responded to the proposal to produce a series of black and white images that would express the feelings provoked by the confinement.

Unlike other proposals that arose during this period of isolation, Novis Corpus does not seek so much the documentary account of the everyday, as to explore the poetics of emotions, an aspect interpreted from different perspectives by authors from such diverse backgrounds and artistic practices.

The shadows that darken this prolonged “sunset” of confinement justify the low key of many of these images, born among the narrow horizons of a landscape enclosed by four walls, as if trying to illustrate the hope that languishes before the pitiful vision of an uncertain future; The fragile takes on a new dimension as we gaze into the unknown territory of the everyday, scrutinizing the cracks that reveal the faintest glimmer of light with which to illuminate the dark solitudes of these territories.

Soberly traced in the book’s narrative, the editors arranged the sequence of images to create counterpoints of shadow and light, where the photographer’s gaze strives to rescue the most insignificant lights before the penumbra is definitively installed in our lives.

The design of the cover – work of the French designer Michel Lauricella – is a declaration of the purpose of this visual manifesto: nothing new or better will bring about this situation of obligatory confinement, but we take advantage of the occasion to freely inquire into our interior, revealing the ins and outs of our motivations and the depth of our commitments.

The project was coordinated by Teresa Uzeda herself, in collaboration with Gabriela Cendoya-Bergareche, Paco Llop and Christer Ek, who were responsible for all the editorial, technical and logistical aspects of producing a book of this nature. A text by Sadreddine Arezki, translated into Spanish by Lucía Boscà, is included as a prologue to the photographs, which are shown in blood and on a double page for each of the authors, whose list includes names from the current photographic panorama:

  • Aitziber Orkolaga
  • Alex Llovet
  • Alex Bocchetto
  • Alfonso Gomez
  • Amaia Gonzalez
  • Anna Gali
  • Antonio Moreno
  • Antonio Segura León
  • Annakarin Quinto
  • Blas González
  • Brigitte Bauer
  • Cristiano Buffa
  • Christopher de Béthune
  • Cristina Crisis Bree
  • Christophe Le Toquin
  • David Salcedo
  • Emmanuelle Gabory
  • Gabriela Cendoya-Bergareche
  • Héctor Jácome
  • Jeanne Minier
  • Joel Audenhaege
  • Jose Luis Moreno
  • Joan Teixidor
  • Juan Lopez
  • Katarina Johnson
  • Lu Lantana
  • Luis Salinas
  • Marie Geneviève Alquier
    María Martinez-Artola Ansa
  • Marc Tallec
  • Miguel Ángel Blanco
  • Oriol Miñarro
  • Pascal Anders
  • Paco Llop
  • Patrick Maille
  • Paco Martí
  • Pako Pimienta
  • Paco Tamayo
  • Paco Ramos
  • Pia Elizondo
  • Pierre Defaix
  • Pierre de Vallombreuse
  • Rafael Tanaka
  • Reimi Gomez
  • Roberto Morales
  • Rocío Bueno
  • Tereza Uzeda
  • Serge Elissalde

The composer Brais González collaborated in this initiative with the musical composition that accompanies the promotional video of ‘Novis Corpus’.


This entry is a translation of my own text published in Clavoardiendo Magazine where I collaborate regularly.

Clavoardiendo-NOVIS CORPUS