At the desert border between Mexico and Texas, animal smuggling has ceased to be just a livestock offense to become a large-scale threat. The illegal sale of horses, without veterinary controls or quarantines, has opened a gap for the New World screwworm (Cochliomyia hominivorax). This carnivorous parasite, which devours the live flesh of animals, puts the livestock economy of the entire geographic area at risk. In this photo essay, we propose a graphic journey between the immensity of the Rio Grande and the routes controlled by Mexican cartels, the lack of inspections turns each clandestine convoy into a dangerous Trojan horse.

Welcome Ona, you have been alive for very few days, so few that we haven't even seen each other in person yet, but while you get to know your mother and your father and you all learn what each other is like, I felt like writing to you. You are a girl and you have had the immense fortune of ending up in an open, beautiful, and free family that will allow you to be the girl you want to be. Even so that at some point you might say that you are not sure if you are a girl, a boy, or whatever you feel like. Take advantage of the bonus because it is not always like this. You will see when you start to socialize that there are girls who are saddled with certain colors, certain decorations, certain things that it would not occur to anyone to saddle them with if they weren't a girl. You ask and do. Go for it. And as soon as you can, play whatever you feel like. Don't limit yourself to the typical game of pretending you have a hair salon, a school, a food stall, do it, if you want, but don't hold back, open your mind. Play at being the quantum physicist who finds the formula to shove Donald Trump into a black hole. Or at being the human resources director of a toy multinational who fires all the assholes. These are examples, but for real, don't hold back. I should tell you that the first extracurricular activity you should do is jujitsu, because, I won't lie to you, being a girl, being a woman, is a bit complicated when you go through the world, and self-defense would do you good. But I refuse for you to grow up out of fear. I want you to know that, in this sense, the problem will never be you. The problem will always be the aggressor's. I would advise you to sign up for the "feminist demonstrations" extracurricular, or "feminist organizations", "non-violent feminist guerrillas" or "how to be a feminist president in the 21st century"; it will be much more fun. But there is still time before you have to choose. Meanwhile, you can learn to vomit every time someone you don't know comes up to you and tells you that you are beautiful instead of telling you that you have an alert look or that you seem very clever or that you have very witty comebacks or what strength you have or what loud farts you make. Because Ona, all girls grow up hearing only that we are beautiful and pretty. This is the content of 95% of the praise we receive in childhood. And then, of course, we grow up thinking that this is what we are worth. And no, Ona, no. You are worth it no matter what your body is like, because Ona, you don't have a normative body or a non-normative body, you have the best body, the body that you care about. And when you start to talk, ask them to teach you to say: red flag, heteropatriarchy, emotional responsibility, gender pay gap your father, sorority, and words like that. I insist, you are very lucky, but you also have to know that we are a family that lives in Catalonia (Europe), we have light skin and we don't worry about money and we have access to things that many people don't have. And that it is not the same to be a girl like this, as it is to have darker skin, have less money, etc. Anyway, just so you note it down. I have only seen you for a second in a photo, but I have already realized: you have an alert look and you look like you are going to let out the loudest and most impressive farts in your town. Welcome, Ona, and long live your life and that of all girls!

This photograph is, practically, a betrayal. It is a large outdoor sound installation created by the French composer Pierre Sauvageot. It is titled Harmonic Fields, Harmonic Fields, a musical play on words that also appeals to the landscape that surrounds it. There are hundreds of instruments that no musician plays. It is the wind that makes them sound. Bamboo flutes, triangles, bells, chimes, propeller sirens, drums, and the entire bowed string family gently release their voice with the tickling of the wind that this week has blown on the hills of Baildon Moor, north of Bradford, in Yorkshire. It is a traveling event that, since 2010, has adapted to landscapes throughout Europe. Pierre Sauvageot, specializing in creations in public spaces, always experiments with landscapes and cities and encourages human interaction. Nature, everyday noises, objects, and atmospheric phenomena become part of the orchestra.In this backlit image, the silhouettes of the instruments can be distinguished as if they were an unusual plantation. Imposing trees that make the human figure look small. The woman in the photo is a wind farmer, a wind cultivator. They move slowly among the installations, activating and adjusting the sound. Sonic agriculture. It is as if they were working a field to improve a harvest that is intangible. The strength and direction of the wind determine the rhythm, volume, and the instruments that play. Nature decides whether the orchestra plays pianissimo or at what moment a gust of wind will cause an sforzando that will sound like an esoteric moan in the middle of the moors. The photograph conveys spirituality and has something ancestral about it; it looks like an offering to the gods. The music we cannot hear must be like a language to communicate with them. Laments or prayers that rise towards the sky. Music is, in principle, a human act. It is people who control the instruments and the sound. But at Harmonic fields control is ceded to nature and left in the hands of the wind force.Photography represents precisely what it cannot show. The wind is invisible, but we sense it in the image. It is the great absent protagonist. Sound cannot be photographed, and yet, we notice its presence through the artifacts and the landscape. The sky, the clouds, and the elevated and free exposure of the instruments allow us to perceive this air that traverses the space. The image is a betrayal precisely because the creator advised against photographing his Harmonic Fields. The composer has always wanted to keep his work against the primacy of the gaze to prioritize listening. But, on the other hand, the installation has such an indisputable and powerful visual presence that it makes capturing it with a camera inevitable. We cannot prick up our ears, but the image helps us imagine the sound. Photography forces us to listen with our eyes.

Basketry is an ancestral practice with origins in the Neolithic, or even before. It was born from the need to transport and store food. In the Iberian Peninsula, remains of basketry and ropes up to 9,500 years old have been found (specifically in the Cueva de los Murciélagos, in Granada). The Romans first, and the Muslims later, contributed new techniques that were perfected until its golden age, from the 18th century to the beginning of the 20th, when the trade became professionalized and became a pillar of the rural economy.

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What makes some murderers and criminals end up fascinating us? This is one of the questions that journalist Francesc Soler (Roda de Ter, 1976) tries to solve in Els assassins guapos (Alrevés Editorial), a book in which he analyzes, among other cases, the phenomenon generated around Luigi Magione, the 28-year-old man accused of the murder of the chief executive of the medical insurance company UnitedHealthcare, Brian Thompson. His physical attractiveness has turned him into a sex symbol and has caused the crime to take a back seat.

Barely two weeks ago, the Catalan clothing brand Desigual launched a campaign mocking the touristification, massification, insecurity, and rising prices currently stifling Barcelona. A campaign that public opinion perceived as a misstep, due to playing frivolously and without a defined critical will with such a poignant social issue, simply to sell clothes. But little did we know that, in a matter of a few days, the brand would manage to completely turn its image around. The sudden change of direction has arrived with the new campaign, titled Born to disobey. A girl, with a defiant attitude in front of a robot, questions the infallibility of artificial intelligence, which collapses in the face of human singularity, and encourages standing up to the dictatorship of algorithms. And looking straight into the camera, she says: “She was designed to obey. I was not.” The brilliance of the ad, however, lies in the fact that its protagonist is not just any model, but Vivian Jenna Wilson: Elon Musk’s trans daughter.

Returning from vacation does not just mean resuming schedules, routines, or obligations, but also recovering a much more serious, prudent, and restrained way of dressing. During the holidays we allowed ourselves to wear bright Hawaiian shirts, show off loose hippie dresses, wear shorts all day long, or go in a bikini and sarong to buy an ice cream at the beach bar. Through clothing, we experience a pleasant sense of freedom and comfort that we rarely enjoy during the rest of the year. But why does all of this end in September?Now it is time to make an appointment at the hair salon urgently. If until now we haven't worried that the hair dye color was a total mess, upon setting foot on solid ground it becomes an unavoidable priority to recover the brown shade of number 4.0 before our colleagues see us. Also, the thin-strap tank tops or minishorts are over: the body becomes more gaunt and now it is time to cover it with fabric again. And if our feet have enjoyed almost absolute freedom thanks to flip-flops, now they must be covered and put back in order. Even Crocs have allowed us to enjoy the comfort of putting on and taking off our shoes without even bending over. But now the laces return to contain our feet and, with them, a small example of the bodily discipline that runs through us during the year.

Last Sunday, at the US Open, a new disturbance in the stands once again made the crowd the protagonist of the tournament. This time it was a spectator excessively uninhibited by the effect of some substance. Witnesses pointed to excessive alcohol consumption. In the image, a security guard approaches the individual to remove him. The man in the blue shirt, gesticulating, berates tennis player Jakub Mensík. The Czech was facing the American Learner Tien in the third round. Reuters photographer Jerry Lai captures the moment when some spectators, indignant, point at the individual so that he is expelled. Since the tournament began, players have criticized the public's behavior: Sabalenka, Mensík, Osaka, Mannarino, and Boulter have complained because the commotion in the stands breaks their concentration for the game: groups of influencers recording promotions and choreographies during the matches, fans making noise to distract their favorite player's rival, smokers ignoring the venue's prohibitions, or people moving up and down among the public to get cocktails. In the background, the stench of marijuana that spreads through Flushing Meadows and that the New York breeze carries to the court.

Laura Freixas has just published Mi madre en el espejo (Tres Hermanas, 2026), a family and personal portrait. In the intimate sphere, her love for culture and a rebellion that does not accept passivity were forged: one becomes a feminist when she sees injustice and wants to change it. Her firm positions in the movement have brought her headaches, and we talk about this in this talk to get to know the writer and her yearnings.The book begins with a quote by Annie Ernaux that says: "To relive it all but without the pain, that only exists in writing". I do not believe you have taken this journey without pain, despite the writing.

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If most houses are designed—and in detail—before being inhabited, this one is being designed while living and working in it. We are located in an old warehouse between party walls in Reus, an old lighting workshop that the founding architects of the Pigaa studio, Sílvia González Porqueres and Andreu Pont Aineto, bought without many resources and which they have gradually made their own. They have transformed it, but first they got to know it, occupied it, and put it to the test. And they are still not finished.

Aisha stays on the sidelines, sitting on a stone between the rubble and the new houses that are under construction. In front of her, her village community is celebrating an Amazigh wedding. Even though it is a festive day, her thoughts are anchored to a pain too deep to let go. She holds it between her hands, tightly interlaced over her skirt, before lifting her head and telling me: “Life goes on, but my heart still hurts.” The earthquake took the older of her two children, who died while sleeping under the rubble of the house, of which now only the memory remains. Since the earthquake, three years ago now, she has lived in a tent in a camp without basic services. Water arrives intermittently, and electricity depends on a few solar panels that are often covered by the dust and debris stirred up by the strong winds of the high mountains.

A high-mountain journey as a routine gesture to get to school. In isolated indigenous communities, the right to education is measured in kilometers of mud, rivers without safe crossings, and paths with dangerous terrain. Meanwhile, classrooms endure in precarious conditions, sustained by teachers who multiply resources where public investment arrives late or only halfway, and families convinced that taking their children to school is both a right and an obligation. Every day is an epic, a reflection of a structural gap: the physical distance between remote areas and opportunities. What real options do children have when the first obstacle is the environment itself? This photo essay focuses on the determination of the families and the slowness of the solutions that puts the children of the Ngäbe-Buglé comarca, in western Panama, near the border with Costa Rica, at risk.

Andrews Air Force Base, Maryland, a few minutes from Washington D. C. Donald Trump and his assistant, Natalie Harp, step off Marine One, the helicopter of the President of the United States, to board Air Force Onebound for Houston. The photograph shows a scene very typical of presidential routines. These are iconic moments of power representation: the epic of the leader preparing to act, to demonstrate his strength. The photograph does not seem to have any particularity. However, the political context makes the image not innocent. Trump walks in the foreground, moving across the tarmac with his heavy gait. But Reuters photographer Kylie Cooper makes him appear blurred. Instead, she focuses on the secondary character: Natalie Harp. A former television presenter turned advisor and personal secretary. Her silhouette is perfectly defined, her confident smile is visible and the vivid green of the dress catches the observer's eye. She walks gracefully and with a firm step, in the background. On the day of the photo, August 27th, it had been only two weeks since the Washington Post had revealed that Trump, on his trip to Turkey, secretly abandoned the official plane at Ankara airport by hiding in a catering truck. He flew secretly in another aircraft while Air Force One, with journalists and part of the cabinet on board, served as a decoy in the face of a supposed dangerous situation due to threats from Iran. The press, which believed that Trump was traveling on the same aircraft, received the order to lower the blinds to prevent the light from inside from making the plane more visible during the flight.The Washington Post revealed that Natalie Harp was one of the few people chosen to accompany the president on the secret flight. Faced with a great threat, Trump prioritized his assistant over higher-ranking politicians. The opposition has taken advantage of this proximity of Harp to the president to make sexist insinuations about a possible sexual affair. On social media, images have circulated accusing her of being the trigger for an argument between Trump and Melania.Power, information and influence

The photographer has captured the moment when Natalie Harp walks under the large 'United States' sign, personifying that idea of dominance it represents. The secretary witnesses confidential conversations and meetings of the president. For some time, the press has dubbed her "the human printer" because she is the one who selects and provides Trump with emails, messages, news, and documents, always in paper format. In the image, Harp is the only one carrying a black bag that seems very full: the zipper does not quite close. She holds it tightly by the handle. The symbolic weight of the information she manages.This photograph hints at an influence that has nothing to do with official hierarchies. Despite her angelic pose and advertising-style beauty, the photographer points out the woman who holds great sway over Trump. Or perhaps a new weak point of the President of the United States.

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On the ship Winnipeg, the children were the only privileged ones. The ship set sail in August 1939 from France bound for Valparaíso (Chile) with more than 2,200 exiled republicans supported by the poet Pablo Neruda. It was a cargo ship that was only intended for a hundred passengers. The exiles slept in the belly of the ship and had to work to keep the ship running. The Winnipeg was also the playground for Lola Patau, a five-year-old girl who now, at 92 years old, tells the story of her parents, who fled the Francoist repression after the Spanish Civil War. Patau narrates the years of exile with a smile. Chile became "a home”, she says, while holding a folder full of old press clippings and yellowed photographs.

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Félix Rodríguez de la Fuente was the voice of the wild world for an entire generation. Now his youngest daughter also dedicates her life to explaining the wonders of nature, assuming her father's legacy, but in a very different context, both due to the media environment and the critical situation that natural life is suffering. Odile Rodríguez de la Fuente is a biologist, science communicator, and president of Rewilding Spain. She wrote Félix: un hombre en la tierra, four years ago, when the 40th anniversary of the iconic naturalist's death was reached, and now she publishes Som natura to try to instill in new generations the enthusiasm for nature that she herself inherited from her father.

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Lately, when I try to buy a bikini, I have to face the search and capture of an increasingly difficult piece to find: one that covers my entire buttocks. While the part that covers the breasts is not problematic, when we get to the bottom part, it seems that we only have at our disposal the minimum expression of what a panty should be. Among the available options, the thong is quite present, which mysteriously disappears between buttock and buttock, given the apparent comfort of the user, and front panels so minimal that I myself wonder how it is possible to fit the entire pubic area into such a narrow strip without it protruding from either side. Suddenly, wanting a panty that generously embraces the buttocks and lower abdomen has become almost an extravagance. It is paradoxical that this occurs in parallel with the clear retreat of the topless, caused by the increase in aesthetic pressure and rising conservative values but, above all, by the threat of camera phones, capable of forever archiving your breasts on social media without your consent. But why do these fears, which have caused the liberation of women's breasts to recede, not have the same effect on the buttocks?

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Jordi Canal-Soler (Barcelona, 1977) looks at a map and sees things that other people cannot see. “All of this is the Polynesian triangle, which is very large. From New Zealand to Easter Island, Hawaii... These are giant distances. We see a very large sea, but the local peoples saw communication routes. As if they were highways on the sea,” he says. “I really like the entire era of explorations. When Captain James Cook sailed here to understand the world, he was one of the first Westerners to reach many of these islands. And he discovered that all of them, even though we're talking about the largest expanse of water on the planet, shared the same culture. The language and way of life are similar, as if they were the Romance languages of here. That is to say, the local peoples navigated these waters,” he explains.

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