Known for working almost exclusively with the Polaroid, with which he has developed a highly personal technique of taking an image apart and putting it back together, Galimberti here confronts the great tragedy of Marcinelle sixty-six years on.

Through two hundred and sixty-two shots — as many as the victims of the disaster that struck the Belgian mining town on the morning of 8 August 1956 — he reuses existing images, setting them in context, placing them in history, digging inside what has already been photographed to find a meaning left to one side and a soul inside the mechanical body.