Magnum Photographer Shines a Mild on Spain’s Alienated Youth

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A person with long black hair, dramatic red face paint, black top, plaid skirt, and black thigh-high boots poses outdoors on a gravel lot with parked cars and a chain-link fence in the background.
Alba Bitxx. Barrio Alto, Almería, Spain (2022). © Lúa Ribeira / Magnum Photos

A Magnum photographer has launched new work that focuses on younger folks dwelling within the peripheries of Spain — reflecting the alienation and uncertainty of the current period.

Agony within the Garden is the second monograph by Lúa Ribeira, created in her native nation of Spain between 2021 to 2023. Inspired by the potential of latest counter-culture, Ribeira has collaborated with younger folks in Madrid, Málaga, Granada and Almería to make photos that evoke a dystopian panorama suspended in time, one which seems each up to date and historical.

Several burnt and discarded loaves of bread lie on the ground among rocks and debris, with wildflowers and shrubs in the background under a partly cloudy sky.
Bread waste. Cañada Real, Madrid, Spain (2023)
A person in a light blue dress lies face down on grass in an open field under a blue sky, with buildings, mountains, and green bushes visible in the distance.
Broken I. Music video. Zapillo, Almería, Spain (2021)
Two young men stand outdoors in casual streetwear, both wearing hooded jackets and holding cans. One has tattoos on his face and hands. They are in an urban, run-down area with debris and apartment buildings in the background.
El Cero and Kidflako. Barrio Alto, Almería, Spain (2022)

The clothes, gestures, and indicators of the folks in Ribeira’s images present affinities with and affect from on-line worlds and personas, echoing the extremes of hedonism and nihilism, all of which performs out within the backdrop of a quickly homogenising world.

Much of the inspiration behind her work comes from spiritual motifs (of her native Galicia, Spain), in addition to research into portray and cinema which all change into key reference factors inside the photos.

“I worked in the peripheries of southern Spanish cities where the arid landscapes helped ground a project that otherwise refuses a fixed geography,” Ribeira says. “The title, drawn from a biblical passage of worship, allowed me to evoke a blurry temporality. The intention was to connect a very contemporary reality, to more universal themes of suffering, betrayal, impending doom, and other human fears that recur throughout history.”

A pile of dried plants, plastic waste, and other trash is scattered on green grass with small yellow flowers under a clear sky. Shrubs grow in the background.
Greenhouse environment. La Mojonera, Almería, Spain (2022)
A person dressed in a black jacket, white pants, and white boots stands on the edge of a circular stone fountain in a garden. The person’s head is out of the frame; water flows from the fountain.
Lamine. Rose backyard, Retiro, Madrid, Spain (2022)
A person with bright red hair, tattoos, and silver high heels crouches on a sunlit rooftop, wearing red lingerie and holding a phone or small object, casting a shadow on the ground.
Maraatack. Barrio Alto, Almería, Spain (2022)

Through its dystopian and at occasions absurd environment, Agony within the Garden displays on a variety of worldwide socio-political points by way of the up to date lens of hedonistic counter-cultural actions.A visceral feeling of uncertainty permeates all through the work conjured by the decaying landscapes made on the perimeters of greenhouse cultivation in Almeria, whereas Ribeira’s inclusion of non secular motifs and imagery frequently nod in the direction of extra common themes and a suspension of temporality. Underpinning all of it is a sense of tragedy and rootlessness, countered solely by the energetic vibrancy of the youthful our bodies that parade by way of the images.

“Over the past decade, I’ve been inspired by the ways younger generations articulate themselves—through expressions, images and gestures that are increasingly global and acutely attuned to the alienation of our times,” explains Ribeira.

“In a world marked by material excess, digital acceleration, overlapping financial, migratory, and ecological crises, there are certain symbols and aesthetics that echo across geographies—expressing in different ways something about contemporary violence. These movements are often framed as subcultural by the media, photojournalism, and conventional documentary practices. Yet, it is precisely these frameworks that I seek to resist, choosing instead to read between the lines and accept more complex and fragile narratives.”

A person with short hair wearing a teal and black puffer jacket squats on a patch of dry grass and dirt, looking down and holding an object, with city buildings and construction cranes in the background.
Pomelo. Cruz de Humilladero, Málaga, Spain (2023)
A close-up of a marble sculpture depicting human legs with realistic wounds and blood, lying on a white surface against a plain background.
Recumbent Christ. National Museum of Sculpture. Valladolid. Spain (2022)
A large pile of assorted garbage and discarded household items is scattered on the ground in an open, barren area with industrial buildings in the background.
Waste. Puche, Almería. Spain (2022)

Agony within the Garden was proven as a part of Close Enough: New Perspectives from 12 Women Photographers of Magnum a touring exhibition curated by Charlotte Cotton (2021-2026), in addition to a solo show on the Museo Lázaro Galdiano, Madrid (2023).


Image credit: Photographs by Lúa Ribeira / Magnum


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