The book Living Amongs What Left Behind results from an intense work by Mario Cruz who documented different tributaries and several communities living next to the polluted Pasig River in Manila, Philippines. The images he captured are a global alert of what can happen when the environment and the basic human needs are ignored.
In 2017 , a report from Nature Communications cites the Pasig as one of 20 most polluted rivers in the world, with up to 63,700 tons of plastic deposited into the ocean each year. In some parts of the river the waste is so dense that it is possible to walk on top of the garbage.
The cover of the book is the result of 160kg of plastic trash that was processed to save it from being thrown away. The process is irregular and every book cover is unique.
The book Talibes Modern Day Slaves documents an alarming social condition for at least 50,000 young boys in Senegal aged between five and 15. The work provoked a nearly immediate response from the President of Senegal, who, in June, ordered the registration of all daaras (Islamic schools) in the country and ordered the police to intervene and assist boys found begging on the street. Just a first step but an indication of the power of the image, as the situations depicted are otherwise normal in Senegal, with Human Rights Watch estimating over 50,000 children begging out of daaras.
Mario Cruz is an independent photographer focused on social injustice and human rights issues.
His projects have been recognized worldwide.
“Recent Blindness” - Estacao Imagem 2014 Award
“Roof” - Magnum 30 Under 30 Award
“Talibes: Modern Day Slaves” - World Press Photo 2016, Picture Of the Year 2016, Magnum Photography Awards 2016, Estacao Imagem Award 2016.
“Living Among What’s Left Behind” – World Press Photo 2019.
His work has been published in Newsweek, International New York Times, Washington Post, CNN, El Pais, CTXT and Neue Zurcher Zeitung.
HE’S THE AUTHOR OF TWO BOOKS:
TALIBES MODERN DAY SLAVES, FOTOEVIDENCE, 2016
LIVING AMONG WHAT’S LEFT BEHIND, NOMAD AND FOTOEVIDENCE, 2019