DIAPO magazine is an editorial project that questions temporality in photography. It claims to be anachronistic, attempting to rehabilitate the slide through the eyes of young photographers, taking an interest in archives, past projects, personal research, unpublished or republished images and forgotten images. In each issue, a photographic work is accompanied by a piece of writing that resonates with it, texts conceived as autonomous elements that can intervene in the reading of the images without dictating a single interpretation.
Kanade Hamamoto is a photographer interested in the anchoring of memory in objects, places and people. Her work, influenced by the discovery of old films with faded colors evoking her fragmented memories, has led her to experiment with unconventional photographic techniques. The portraits in the midday ghost series, published in 2020, depict ambiguous beings without defined contours or facial expressions. Kanade sees them as a reflection of memory, which becomes blurred when we try to remember a face. These figures oscillate between identity and anonymity: somewhere, but nowhere, someone, but no one.
Ryōko Sekiguchi is a poet, essayist and translator, exploring the links between memory, sensations and human relationships. After studying medieval French literature at Waseda University and art history at the Sorbonne, she also became attached to the French language through her love of gastronomy. Her work questions the way in which smells, both ephemeral and memorable, inscribe themselves in our memories. She is the winner of the Grand Prix de la Traduction au Japon (2016), former resident of the Académie de France à Rome – Villa Médicis (2013), Chevalière de l’Ordre des Arts et des Lettres (2021) and director of the Le Banquet collection at éditions Philippe Picquier.
