Alessandra Sanguinetti (born 1968) was raised and educated in Argentina. In 1999, she met two inimitable children, Guillermina Aranciaga and Belinda Stutz. The two young women, whose lives she then followed, became icons in her life and work. Against the backdrop of rural Argentina, in an overwhelmingly male world of gauchos and farmers, the artist’s documentary work spans different stages of life, reflecting on the irreversibility of time.

There’s a mystery to Weegee. The American photographer’s career seems to be split in two. One side includes his sensational photography printed in North American tabloids: corpses of gangsters lying in pools of their own blood, bodies trapped in battered vehicles, kingpins looking sinister behind the bars of prison wagons, dilapidated slums consumed by fire, and other harrowing documents on the lives of the underprivileged in New York from 1935 to 1945. Then come the festive photographs–glamorous parties, performances by entertainers, jubilant crowds, openings and premieres–to which we must add a vast array of portraits of public figures that Weegee delighted in distorting using a rich palette of tricks between 1948 and 1951, a practice he pursued until the end of his life.