Carpintarias de São Lázaro

Rua de São Lázaro 72, 1150-199 Lisboa

Thursday to Sunday: 12:00-18:00

06/10 - 06/11/2022

Opening: 06/11 22:00 - 00:00


Filippo Zambon, “Into the bin”

Flávio Andrade, “Isolation”

Hannah Kozak, “He Threw the Last Punch Too Hard”

Smita Sharma, “Domestic Servitude trafficking in India”

Tariq Zaidi, “Sin Salida”

Vlad Sokin, “Crying Meri”

©Filippo Zambon

Filippo Zambon
Para o lixo


“Into the bin” is a project about food waste.

The work is an attempt to criticise the consumerist attitude of a part of the society and the profit oriented mentality of the business market.

The photographs show the real, untouched contents of supermarkets’ trash bins, photographed in the night after the grocery stores have closed. Those images depict the waste food as beautiful “natura morta” aesthetically contrasting with the policy of immediately disposing of expired or almost-expired items. Most of the grocery store’s disposed food is still perfectly edible. Even the shop’s workers aren’t allowed to take the food home. 

In Finland, dumpster diving has become a very popular practice between people with very different backgrounds. What used to be a common practice for students and unemployed has started to attract people that do it for other reasons than saving money. Dumpster diving has become for many a sort of activism to fight the materialistic mentality at the base of the consumerist market system.

Food waste, apart from being an environmental problem in many ways, is firstly an ethical problem. Food waste represents our uncontrollable need to consume, our indifference in wasting and our disinterest in sharing.

The pictures were taken in the winter 2014-2016 in the trash bins of supermarkets around Helsinki.



Filippo Zambon - born in Florence, studied Art History at the University of Florence. After working as assistant for a war photographer, he moved to Helsinki were graduated in 2014 as Master of Fine Arts with major in Photography at the University of the Arts of Helsinki. His works have been exhibited in galleries and museums around Europe and published on magazines and photography reviews worldwide. His works are found in several collections such as the Hasselblad Foundation in Gothenburg, The Finnish Photography Museum, The Tuscany Photographic Archive, the Paulo Foundation in Helsinki, as well as private collections in Europe.

His first monograph” The Komi diary”, published by Lecturis, was awarded in 2018 as the photo book of the year in Finland. His second book “Short Cut” was published in 2021.

At the moment he is working as an artist photographer and photography lecturer in several institutions.

©Flávio Andrade

Flávio Andrade




Isolation draws inspiration from real-life during the lockdown imposed by the Portuguese government on March 18 2020, in view of the exceptional global public health situation and in order to curb the proliferation of COVID-19 cases. 

After re-reading L’Ère du Vide (The Age of Emptiness) by Gilles Lipovetsky, I reflected upon the individualist society of the 1970's that Lipovetsky describes and upon the way we live and think now, in the 21st century. That narcissistic and egocentric place, where the I is common-place, seems to have intensified over the years; imprisoned within ourselves, without being able to do that which we desire, as if we were in a cell, conditioned; without freedom to circulate, socialise, travel and share in person and in real-time. I felt a certain resignation regarding what we are, what we want and what we do. Where is the place for the other? For sharing, for solidarity? We live parallel lives - the one we dream of and the one that is possible. Living shallow and virtual lives, heightened by lockdown, isolation forces us, in many cases, to confront our physical and psychological limits, compelling us to think about existence and the uncertain nature of the future. This leads us to the feelings and behaviours recreated here in a photographic self-portrait.

Isolation, turned out to be surprising for revealing that, even if one’s confined within four walls, it is possible to experience an emotional release that overcomes the physical barrier. These photos are my vision of what I feel, of what others feel or have felt, during this period we are all living through.


Flávio Andrade (born 1964) is a Portuguese photographer and visual artist, based in Portugal. He has published five books: Isolation (2021), Nubes (2018), Vago (2017), Déjà vú (2017) and Circle of life (2017). His works are part of public and private collections; he has exhibited his work regularly since the 1990s. In 2017, he founded the publishing house FlankusBooks. He studied social communication at ESE, photography at and at Cenjor, and more recently, took the course “Seeing Through Photographs” offered by New York's MoMA. He taught photography for ten years (2003-2013) at the Portuguese Catholic University, where he co-taught Photography: Theory and Practice. He is an instructor of analog and digital photography, and photojournalism.

©Hannah Kozak

Hannah kozak

Ele deu o último murro com demasiada força



    "I began photographing my mother in December 2009 to process my feelings toward a mother I had never truly known. In the process I grew to love her and this project, He Threw the Last Punch Too Hard, was born. I was awarded the inaugural FotoEvidence W Award in 2019 and after a successful Kickstarter campaign, created the book.

Today, my mother is my muse, but our relationship hasn’t always been so simple.


    When I was 9, my mother left our family after falling in love with another man. The man she left us for was violent: he beat her so badly she suffered permanent brain damage. She moved into an assisted living facility at the age of 41 and has been living there for the past 42 years.

        I have early memories of my mother as a beautiful, passionate Guatemalan Sophia Loren. But after she left, I developed tremendous feelings of abandonment and rage. Her actions led me to judge her as impetuous, selfish, and negligent. Yet whenever I saw her, I was overcome with sadness. Seeing her right hand gnarled from the brain damage brought forth more emotion than I could bear. So I virtually ignored her in an attempt to distance myself from the pain. 

        But pain ignored does not disappear. While working as a stuntwoman, I broke both feet jumping out of a helicopter onto the tallest building in L.A. My time spent healing led me inward, and I decided to return to school. Thankfully, through graduate work in Spiritual Psychology, I was able to dissolve my judgments about my mother and begin to forge a relationship with her.  

I didn’t need to travel the world to deepen my spirituality. My greatest teacher was in front of me the entire time. My mother forgave me for not visiting her all those decades. I forgave her for leaving our family. I no longer pity my mother. She continually inspires me, teaching me to live by my heart, not my head. 

    My mother is a symbol of perseverance. Even though she suffered permanent disability from domestic violence, she never lost her kindness, hope, or belief in love. As her body deteriorated, her soul flourished. She refuses to be an object of pity.

These photos tell my mother's story of loneliness, abuse, connection, compassion, forgiveness, humanity, grace, and above all, love. I didn’t plan to show them at first, but I've learned that sharing our story helps others on their path to healing. May these photos inspire someone else to leave an abusive relationship before it’s too late."



Hannah Kozak was born to a Polish father and a Guatemalan mother in Los Angeles, California. At the age of ten, she was given a Kodak Brownie camera by her father, Sol, a survivor of eight Nazi forced labor camps and began instinctively capturing images of dogs, flowers, family and friends that felt honest and real. While working in a camera store at the age of twenty, Hannah’s life changed when she met a successful stuntwoman named Victoria Vanderkloot who became her mentor and helped her start a career in stunts. Hannah has turned the camera on herself, her life and her world. She continues to look for those things that feel honest and real, using her camera as a means of exploring feelings and emotions. After decades of standing in for someone else, she now is in control of her destiny and vision. 

Hannah creates psychological and autobiographical photographs. Her subjects are the people and places that touch her emotionally. She has been photographing people and places for nearly five decades. Photography has the power to heal and to help us through difficult periods, something Hannah Kozak knows first hand from personal experience. Hannah Kozak sabe por experiência própria.

“I use my camera as a means of exploring my feelings and emotions. My photos are my emotional predicaments. When someone allows me to photograph them, they give me a piece of themselves that I can forever hold onto. In moments of melancholic desire and solitude, I can feel them again from the connection of our photos. My photographs are direct, honest and without pretense.

Instagram: @hannahkozak


©Smita Sharma

Smita Sharma

Tráfico de Servidão Doméstica na Índia



My story chronicles the lives of India’s trafficked survivors and their struggles. The victims of this trade are primarily girls, some as young as 9, who are trafficked for household work and often without any form of remuneration.

India is witnessing a sustained and rapid growth in its economy over the last few years. The demand for cheap domestic help particularly in the larger cities of India among the urban working class has risen. This has fuelled domestic servitude trafficking.

Employers engage the services of placement agencies, looking for domestic help, but what they often don’t know is that many of these girls arrive via this channel of modern-day slave trade.

With no specific law or monitoring mechanism for these placement agencies, people often fall prey to illegal recruitment. Poor girls from the indigenous communities who often face social exclusion and isolation are targeted. The traffickers who pose as representatives of placement agencies, sell dreams of a brighter future. They are most often a relative, a neighbour or an acquaintance. Charging employers for a year and pocketing the money, while leaving the girls to live like slaves.

The situation is grave. Hundreds of girls go missing with no information or possible whereabouts. The police and administration are not very helpful either in the effort to locate these girls and the families merely wait in despair and keep hoping that their daughters will return some day.



Smita Sharma is a Delhi-based photojournalist who has documented gender issues, sexual crimes and human trafficking in the Global South through long-form visual narratives. She is a TED fellow and speaker and an International Women’s Media Foundation (IWMF) reporting fellow. Smita is committed to representing people with dignity and her visceral images have been published in a range of outlets, including the New York Times, BBC World, Wall Street Journal, TIME and National Geographic Magazine. Her work has also been exhibited and shown globally, including at the UN Headquarters in New York. She is the recipient of awards from Amnesty International, the Las Fotos Project, One World Media UK, Women Economic Forum and Fetisov Journalism.

©Tariq Zaidi

Tariq Zaidi

Sin Salida (Sem saída)

El Salvador - Uma Nação Refém 2018-2020



‘Kill, Rape, Control’ is the motto of the notorious Mara Salvatrucha Gang (MS-13). This street gang, along with its rival Barrio 18, have become infamous across Central and North America for their trademark of brutal violence. 

El Salvador is a country where both gangs exercise extensive control over communities and the state is unable to stamp either of them out. While the levels of violence have varied over the years, the country’s murder rate has consistently been among the world’s highest.

The savage nature of the violence has shocked and paralysed El Salvadoran society. In many cities, it is impossible to cross the street due to differing gang territory control, entirely cordoning off neighbourhoods and streets. And although the government’s no-tolerance policies are largely popular with the public, the authorities have been criticised by some human rights observers for being too harsh. 

The government has achieved some success, bringing murder rates down from their high of 17 murders a day in 2015 to two murders a day by March 2020. However, an explosion of violence in early 2020, when street gangs killed 76 people in just four days, illustrates how volatile the country still is.

President Nayib Bukele responded by targeting incarcerated gang members, who according to the Ex-minister of Justice and Security, Rogelio Rivas, are responsible for ordering 80 per cent of all attacks in the country. 

For now, at least, fear, violence and intimidation remain an everyday part of life here.

These images provide unique photographic evidence of the violence that has plagued Salvadoran society and are a documentary snapshot of the country’s war against its gangs from 2018 to 2020. 

This series forms part of a larger body of work which was published by GOST Books, in October 2021 in a book titled “Sin Salida”.


Tariq Zaidi is a freelance photographer. In 2014, he gave up an executive management position in an events business to pursue his passion of capturing the dignity, strength and soul of people, within their own environment. 

He has worked in 22 countries across four continents, mainly in the developing world. His work has been shown in over 85 exhibitions and featured internationally over 1000 times in magazines, online or on television in more than 90 countries including The Guardian, BBC, CNN, National Geographic, Washington Post, Newsweek, Der Spiegel, Stern, El Pais, GEO, Los Angeles Times, Smithsonian Magazine, Chicago Tribune, Sueddeutsche Zeitung, Sydney Morning Herald, Internazionale, VICE, Corriere della Sera, The Independent, The Telegraph and The Times of London among other respected international titles.

Zaidi’s work has been recognised with a number of prestigious awards, including Pictures of the Year International (POYi), the National Press Photographers Association’s (NPPA) Best of Photojournalism Awards, UNICEF Photo of the Year, the Marty Forscher Fellowship Fund for Humanistic Photography (Parsons School of Design), the International Photography Awards and the PDN Photo Annual. In 2020, Tariq was awarded first place in the Photojournalism Category for his work on El Salvador by Amnesty International's 2020 Media Awards in recognition of his commitment to human rights.

Zaidi is represented by Zuma Press (USA), Caters News Agency (UK) and Getty Images (UK). He is a self-taught photographer with an MSc from University College London. His photography focuses on documenting social issues, inequality, traditions and endangered communities around the world.

Zaidi’s first book “Sapeurs: Ladies and Gentlemen of the Congo” was published in September 2020. The book was selected by Pictures of the Year International as one of the “Photography Books of the Year” and also by Vogue como um dos “Melhores Livros de Moda do Ano”The photobook is already on its second printing.

Tariq's second book “Sin Salida” (“Sem Saída”) was published by GOST Books, UK in October 2021. In March 2022, his work on El Salvador was recognised by Pictures of the Year International for the Premier category of the "World Understanding Award".


Tariq Zaidi

Email: [email protected]

©Vlad Sokin

Vlad Sokhin

Crying Meri

Violence Against Women in Papua New Guinea



Papua New Guinea (PNG) is a dangerous place for women, or 'meri' as they are called in Tok Pisin, the local language. Violence against women is seen as normal. According to recent statistics from the Papua New Guinea National Department of Health, more than two thirds of women experienced physical or sexual violence. One third were subjected to rape and 17% of sexual abuse involved girls between the ages of 13 and 14. Medecins sans Frontieres (Doctors Without Borders), a leading medical charity, claims that the levels of gender violence seen in Papua New Guinea usually only occur in war zones. One of the main threats are the Raskol gangs that rule the slums around bigger towns and Port Moresby, the capital. Most of the crimes committed on an average day are against the women of the slums around Port Moresby. 

A large percentage of men in PNG don't have any respect for 'meri' and feel entitled to beat them, often using bush knives and axes. Many believe that once they have paid a bride price to the woman's family they own her outright and can treat her like an object. Many cases of domestic violence are linked to alcohol and jealousy also plays a role since men in Papua New Guinea often have more than one wife. Rejected and beaten women are often kicked out of their homes where they become easy targets for the Raskol gangs.

Sorcery-related violence is widespread in Melanesia. In Papua New Guinea (PNG) it can take a particularly savage form. In the Highlands Region witch-hunts occur in almost every province. Belief in 'sanguma' (witches) or 'puri-puri' (black magic) is widespread and cases of unexpected death in a village often lead to residents accusing local women, often relatives of the deceased, of sorcery. The accused are usually tortured to extract a confession and then killed or maimed. 


Though the practice is well known and widespread, the authorities do not have a programme in place to shelter women accused of sorcery and work with those who are mentally scarred by the experience. Few cases of sorcery-related murder are brought to court and police officers have been known to participate in 'witch hunts' themselves. 

In 2013, the PNG government repealed the controversial 'Sorcery Act' and made sorcery related violence a punishable crime. The number of cases appears to still be rising, despite the new legislation.


Vlad Sokhin (Russia/Portugal) is an award winning documentary photographer, based in Libreville, Gabon. He covers environmental, cultural, and human rights issues around the world, including post-conflict and natural disaster zones.

Vlad has worked on photo, video and radio projects, collaborating with various international media and with the United Nations and international NGOs. Vlad’s work has been exhibited and published internationally, including at Visa Pour L’Image and Head On photo festivals and in the National Geographic, International Herald Tribune, Newsweek Japan, BBC World Service, the Guardian, National Geographic Traveler, GEO, ABC, NPR, The Atlantic, Stern, Le Monde, Paris Match, Esquire, Das Magazin, WIRE Amnesty International, Sydney Morning Herald, Marie Claire, The Global Mail, Publico, and others.

Vlad is represented internationally by Panos Pictures.