The Planeta Benjamin series offers a double reading: on the one hand, the constant reference to the forms of creation, dissemination and communication of contemporary photography, linked to the term post-photography, where its limits are blurred (both in its origin and in its use and transformation). In short, how they are made, what they are for and what they mean, forming part of the universal cartography of that 'ubiquitous gaze', creator and protagonist of the collective ideology. On the other hand, the Planeta Benjamin project is a disconcerting irony that plays with the idea provided by the philosopher Walter Benjamin in his referent work “The work of art in the age of its technical reproduction”, where the still necessary physicality of the work of art (in our case photography) comes face to face with the idea of ​​its incessant reproducibility, to the point of overcoming the eternal struggle between the original and its transforming copies. Therefore, our desire is to face the object and its discourse and promote the debate on immateriality, universalization and the need for photography in the age of its digitization.