5.24.2018

LatAm f100:  Lucía Peluffo and Diego Moreno

Azucena from the series "En mi mente nunca hay silencio" © Diego Moreno

fototazo has asked a group of 50 curators, gallery owners, blog writers, photographers, academics and others actively engaged with Latin American photography to pick two early career photographers whose work deserves recognition.

This project aims to highlight great work being made in the region today and also to provide a starting point in both English and Spanish for exploring contemporary Latin American photography. LatAm f100 is a collaboration between fototazo and the photographer and educator Jaime Permuth.

Today we continue the series with selections by Gonzalo Golpe. His biography follows his selections.

The series also includes responses from Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio AntonCristina De Middel, Arturo SotoCecilia Fajardo-HillGuillermo Srodek-HartYorgos EfthymiadisLivia AnimasJuanita BermúdezSusana Raab, the pairing of Victoria Holguín and Daniella BenedettiEmiliano ValdésMuriel HasbunGeorge SladeMarta DahóElizabeth AvedonJorge PicciniRodrigo OrrantiaSujong SongNelson Herrera YslaOliva María RubioJonathan Blaustein, Patricia Martin, José Luis Cuevas, Zully Sotelo, and Alfredo De Stefano Farías.

fototazo ha invitado a un grupo de 50 curadores, galeristas, escritores, fotógrafos, y académicos - entre otros individuos seriamente comprometidos con la fotografía latinoamericana - a escoger cada quién dos fotógrafos emergentes cuya obra sea merecedora de mayor reconocimiento.

Este proyecto es una manera de celebrar el gran trabajo que se lleva a cabo en la región. Asimismo, busca proporcionar un punto de partida bilingüe en inglés y en español a las audiencias que deseen explorar la fotografía contemporánea en Latinoamérica. LatAm f100 es una colaboración entre fototazo y el fotógrafo y educador Jaime Permuth.


Hoy continuamos la serie con selecciones aportadas por Gonzalo Golpe
Encontrará su biografía al final del texto.

La serie también incluye contribuciones de 
Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio AntonCristina De MiddelArturo SotoCecilia Fajardo-HillGuillermo Srodek-HartYorgos EfthymiadisLivia AnimasJuanita BermúdezSusana Raab, el dúo de Victoria Holguín and Daniella BenedettiEmiliano ValdésMuriel HasbunGeorge SladeMarta DahóElizabeth AvedonJorge PicciniRodrigo OrrantiaSujong Song y Nelson Herrera YslaOliva María Rubio, Jonathan Blaustein, Patricia Martin, José Luis Cuevas, Zully Sotelo y Alfredo De Stefano Farías.

______________________________

Lucía Peluffo is a young Argentine photographer with the work of an old and wise artist.
Her way of undertaking projects with honesty, simplicity and a lack of artifice makes one feel that between the author and her work there is a coherent and complete structure as well as an uncommon vitality.

Lucía does not make her work for others, does not call attention to herself, does not compete, does not excuse herself. Her core theme is intimacy; maybe that's why she chooses the book as a channel and as a medium, because she knows that reading is a kind of dislocated dialogue that operates between the reader and the author and that in her way of using it only the closest distance is possible, the one we reserve for family, lovers and friends.

Lucía Peluffo es una joven fotógrafa argentina con hechuras de autora vieja y sabia.
Su forma de acometer los proyectos desde la honestidad, la sencillez y la falta de artificio provoca en uno la sensación de que entre la autora y su obra existe una coherencia e integridad estructural y vital poco comunes. 


Lucía no produce para otros, no figura, no compite, no se excusa. Su tema vertebral es la intimidad; tal vez por eso elige el libro como canal y medio, porque sabe que la lectura es una suerte de diálogo dislocado que opera entre el lector y la autora y que en su ejercicio sólo cabe la distancia más próxima, aquella que reservamos para familia, amantes y amigos.


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo


From the series "Isabel" © Lucía Peluffo

______________________________

Diego Moreno lives exposed, with his ribs open to the sun, offering himself as a sacrifice to continuous love. His work takes the form of woven altarpieces, symbolic representations of a family memory from the female perspective that carries pain, but also the possibility of life, of resistance, of freedom. There is a lot of purgation in his work, a natural purification without crime or guilt, that just releases sorrow.

Diego Moreno vive expuesto, abierto al sol por las costillas, ofreciéndose en un sacrificio de amor continúo. Su obra toma forma de retablos hilados, representaciones simbólicas de una memoria familiar en femenino que porta consigo el dolor pero también la posibilidad de la vida, de la resistencia, de la libertad. Hay mucho de purgación en su obra, una purgación natural sin delito ni culpa, sólo un evacuar de la pena.


Espejismos y visiones from the series "En mi mente nunca hay silencio" © Diego Moreno


Refugio de los pecadores from the series "En mi mente nunca hay silencio" © Diego Moreno


Un tipo de indulgencia from the series "En mi mente nunca hay silencio" © Diego Moreno


From the series "Huésped" © Diego Moreno


From the series "Huésped" © Diego Moreno


From the series "Huésped" © Diego Moreno


From the series "Huésped" © Diego Moreno


Detalle I from the series "Onán" © Diego Moreno


Detalle II from the series "Onán" © Diego Moreno


______________________________

GONZALO GOLPE has a degree in Hispanic Philology and a Diploma in Publishing and Publication of Texts from the University of Deusto. He is an independent editor and professor and a specialist in desktop publishing and graphic production.

From 2010 to 2103 he directed Siete de un Golpe, a workshop specialized in the self-publishing of photobooks, artist editions and graphic production. Since 2014, he has been part of La Troupe, a collective of graphic arts professionals dedicated to the work of the author, both in its editorial and expository aspects. He collaborates as editor in The Portable Photo, a collection of author applications of contemporary Spanish photographers promoted by espadaysantacruz Studio. He directs the collection of 64P photographic essays for La Fábrica Editorial, with which he collaborates as an independent editorial board.

His work can be consulted at: http://www.la-troupe.com/


GONZALO GOLPE
Licenciado en Filología Hispánica y diplomado en Edición y Publicación de Textos por la Universidad de Deusto.
Es editor independiente y profesor. Especialista en autoedición y producción gráfica.

De 2010 a 2103 dirigió Siete de un Golpe, un taller especializado en autoedición de fotolibros, ediciones de artista y producción gráfica.
Desde 2014 forma parte de La Troupe, un colectivo de profesionales de las artes gráficas dedicado al trabajo de autor, tanto en su vertiente editorial como expositiva.
Colabora como editor en The Portable Photo, una colección de aplicaciones de autor de fotógrafos españoles contemporáneos impulsada por espadaysantacruz Studio.
Dirige la colección de ensayos fotográficos 64P para La Fábrica Editorial, con la que colabora como consejo editorial independiente.

Su trabajo se puede consultar en: http://www.la-troupe.com/

5.14.2018

Review: "Kleine Fotoenzyklopädie" by Guadalupe Ruiz


En español aquí

The table of contents of Guadalupe Ruiz's Kleine Fotoenzyklopädie (Small Encyclopedia) lays out an orderly sequence of 37 clearly defined entries containing a total of 645 photographs, but by the time we reach the second entry we have already run into problems.

The first chapter, entitled "Skyscrapers," contains photographs of…skyscrapers. The second chapter, "New Buildings," contains new buildings, but some of them are also skyscrapers. The third chapter, "Buildings, Chicago" creates more problems. Some of the buildings in it contain elements of all three of the categories established so far –new skyscrapers in Chicago. Why, then, are they listed in this chapter and not in one of the previous two? Is it because the buildings in the first two chapters all appear to be from New York, not Chicago? Then why does the third category include "Chicago" as part of its categorization, but the first two do not include "New York"? The system of organization has already shown its limitations and we're still in the opening pages.


 



The first six chapters all contain architecture and perhaps we can still hold on to the idea that the encyclopedia we have in our hands is actually an encyclopedia, despite the problems of its categorizations. Chapter seven, however, is composed of the covers of revolutionary books and magazines. It is followed by a chapter on Albanian paintings! What the hell is going on? The book dissolves into seeming free association, with subsequent chapters of photographs of a theme park, lots of flowers, separate chapters for Christmas in New York and Christmas in Bogota, and an entire chapter devoted to portraits of someone named Sandra Milena.

The specificity of the chapters telescopes in and out from "the countryside" to the items purchased from a particular deli. Subjects range from the universal, such as dogs, to the extremely personal, as in a chapter on items from Ruiz's parent's home. By the time we have finished the book for the first time, Ruiz's encyclopedia recalls the taxonomy of animals in the Chinese encyclopedia known as the Emporio celestial de conocimientos benévolos mentioned in Jorge Luis Borges' "The Analyticl Language of John Wilkins." In it, the world of animals is composed of the following:
(a) belonging to the emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies.




Viewing the chapters individually, we sense how Ruiz has critiqued and dismantled systems of classification, showing the absurdity and futility of our attempts to fully order what is around us and inspiring in the reader fundamental ontological and epistemological doubts about such a project. We also see in the chapters of photographs reference to one of the major questions facing photography today: how archivists, historians, and artists - among others – must decide which images have merit from the sea being produced today, what to let go, and how to select and give order to what will represent us and tell our narrative to future generations.

Just as the book itself begins to feel that it can be categorized as belonging to the worlds of conceptual photography, philosophical argumentation, and the intellect, however, something surprising happens.




Once we stop looking at the chapters individually, and look at them collectively, patterns become clear and a single person's sense of taste becomes palpable. We begin to feel the presence of someone who is drawn to flowers and fruits, as well as art and architecture, and who loves the color of supermarket packaging and desserts. We see someone's first impressions of Detroit through their photographs, and we look over objects from their parent's home. The person taking shape is someone who has traveled, from Mayan ruins to Genoa, who is curious about the differences between how people decorate for Christmas in Bogota and New York.

From the failure of the project's attempt at objective organization emerges the hidden hand that has been ordering the material, a subjective presence, the photographer herself. The puzzling disorder of chapters begins to have reason, but for just one person, the photographer herself. As we understand the book as the prism of this one woman's life, however, the puzzling disorder of chapters begins to have reason for us as well in how the chapters reflect all of our attempts to thread together and order our existence. This book that at first seemed of the head is also of the spirit.


Ruiz's work reminds us that the structure of the world is the structure that we give it. Kleine Fotoenzyklopädie therefore has political and cultural implications in today's age of Big Data, Cambridge Analytica, algorithms, Google Earth, DNA databases, and NSA files. Ruiz underscores the inherent limits, defects, and subjectiveness of such projects, no matter how much they may seem to accurately reflect reality, and by doing so she calls into question their authority and power. The systems we create to explain our surroundings also reveal as much about ourselves, our preoccupations and biases, as about what we attempt to classify. By reminding us that data accumulation projects reflect and serve the seemingly endless human demand to define, order, and know, she implicates each of us as well.

In this way, Ruiz's encyclopedia brings to mind another Borges story, "On Exactitude in Science." Borges writes of cartographers so ambitious that they create a map of their empire on a one-to-one scale. Future generations see the map project for the folly it was, leaving the map to disintegrate by exposing it to the elements. While Ruiz doesn't sketch out a future vision for our contemporary quest to completely order the universe, one can see the book as a critique of our direction, one as biting and witty as Borges', and Ruiz leaves it to us to decide what happens from here.


5.10.2018

LatAmf100: Linet Sanchéz Gutiérrez and Tania Franco Klein

© Linet Sanchéz Gutiérrez

fototazo has asked a group of 50 curators, gallery owners, blog writers, photographers, academics and others actively engaged with Latin American photography to pick two early career photographers whose work deserves recognition.

This project aims to highlight great work being made in the region today and also to provide a starting point in both English and Spanish for exploring contemporary Latin American photography. LatAm f100 is a collaboration between fototazo and the photographer and educator Jaime Permuth.

Today we continue the series with selections by Alfredo De Stefano Farías. His biography follows his selections.

The series also includes responses from Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio AntonCristina De Middel, Arturo SotoCecilia Fajardo-HillGuillermo Srodek-HartYorgos EfthymiadisLivia AnimasJuanita BermúdezSusana Raab, the pairing of Victoria Holguín and Daniella BenedettiEmiliano ValdésMuriel HasbunGeorge SladeMarta DahóElizabeth AvedonJorge PicciniRodrigo OrrantiaSujong SongNelson Herrera YslaOliva María RubioJonathan Blaustein, Patricia Martin, José Luis Cuevas, and Zully Sotelo.

fototazo ha invitado a un grupo de 50 curadores, galeristas, escritores, fotógrafos, y académicos - entre otros individuos seriamente comprometidos con la fotografía latinoamericana - a escoger cada quién dos fotógrafos emergentes cuya obra sea merecedora de mayor reconocimiento.

Este proyecto es una manera de celebrar el gran trabajo que se lleva a cabo en la región. Asimismo, busca proporcionar un punto de partida bilingüe en inglés y en español a las audiencias que deseen explorar la fotografía contemporánea en Latinoamérica. LatAm f100 es una colaboración entre fototazo y el fotógrafo y educador Jaime Permuth.


Hoy continuamos la serie con selecciones aportadas por Alfredo De Stefano Farías
Encontrará su biografía al final del texto.

La serie también incluye contribuciones de 
Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio AntonCristina De MiddelArturo SotoCecilia Fajardo-HillGuillermo Srodek-HartYorgos EfthymiadisLivia AnimasJuanita BermúdezSusana Raab, el dúo de Victoria Holguín and Daniella BenedettiEmiliano ValdésMuriel HasbunGeorge SladeMarta DahóElizabeth AvedonJorge PicciniRodrigo OrrantiaSujong Song y Nelson Herrera YslaOliva María Rubio, Jonathan Blaustein, Patricia Martin, José Luis Cuevas y Zully Sotelo.

______________________________

Linet Sanchéz Gutiérrez (Cuba)
Linet is a multidisciplinary artist who builds a model of architectural spaces to then photograph them. Despite the whiteness and brightness, the spaces are very disturbing, they create the sensation that what will enter through one of the doors or windows will not be pleasant. The philosopher and poet Gastón Bachelard in his book "The Poetics of Space" mentions that space conserves compressed time and that this is space's purpose. In the spaces of Linet time has never existed beyond, perhaps, the memory of the photographer.

Linet es una artista multidisciplinaria que construye unas maquetas de espacios arquitectónicos para luego fotografiarlos. A pesar de lo blanco y luminosos los espacios son muy inquietantes, crean la sensación que lo que va a entrar por una de las puertas o ventanas no será nada agradable. El filósofo y poeta Gastón Bachelard en su libro “ La poética del espacio “ menciona que el espacio conserva tiempo comprimido y que el espacio sirve para eso. En los espacios de Linet el tiempo nunca ha existido mas que quizás en la memoria de la fotógrafa.

© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez


© Linet Sanchéz Gutiérrez
______________________________

Tania Franco Klein (México)
I find in Tania's work a connection between William Eggleston, David Lynch and the painter Edward Hopper. Her characters give the impression that they live and die of boredom, they are alone and it seems that what is outside of the house also oppresses them, hurts them, annoys them. The atmosphere and light of her photographs leave no doubt that suicide is imminent.

Encuentro en el trabajo de Tania una conexión entre William Eggleston, David Lynch y el pintor Edward Hopper. Sus personajes dan la sensación de que viven y mueren del aburrimiento, están solos y pareciera que lo que esta afuera de la casa también los oprime, los lastima, los fastidia. Las atmósferas y la luz de sus fotografías no dejan a dudas de que el suicidio es inminente.

From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein


From the series "Our Life in the Shadows" © Tania Franco Klein

______________________________

Alfredo De Stefano Farías is considered one of the most important contemporary conceptual photographers in Mexico. His passion is the landscape and specifically that of the desert, a panorama that has traveled many times photographing and intervening. among his photographic series stand out De parajes sin futuro (1992), Vestigios del paraíso (1996), Habitar el vacío (2002) y Breve crónica de luz (2006). Since 2008 he has been working on his new series, Storm of Light, which takes place in different deserts of the world. He has had more than ninety individual and group exhibitions, and his work has been exhibited in five continents, as well as in different capitals of the world including: Mexico, Paris, Sao Paulo, New York, Washington, Madrid, Bogotá, Lima, and Buenos Aires among others. His photographs have appeared in numerous books and magazines and his work is in public and private collections in Mexico and abroad. Since 2008 he has been a member of the Sistema Nacional de Creadores (National System of Creators).

He is a cultural administrator and director of the Contemporary Photography Contest of Mexico and Latin America, as well as the NL-Foto International Photography Festival in Monterrey, Mexico. He directs and founded the non-profit organization Luz del Norte Fotografía, A.C. dedicated to promoting and disseminating the diversity of Latin American photography through various platforms.

Alfredo De Stefano Farías es considerado uno de los fotógrafos conceptuales contemporáneos más importantes de México. Su pasión es el paisaje y específicamente el del desierto, panorama que ha recorrido infinidad de veces fotografiándolo e interviniéndolo. Entre sus series fotográficas destacan De parajes sin futuro (1992), Vestigios del paraíso (1996), Habitar el vacío (2002) y Breve crónica de luz (2006). Desde el 2008 trabaja en su nueva serie, Tormenta de luz y que se desarrolla en diferentes desiertos del mundo. En su haber se encuentran mas de noventa exposiciones, entre individuales y colectivas, y su trabajo se ha expuesto en los cinco continentes, así como en diferentes capitales del Mundo como: México, París, Sao Paulo, Nueva York, Washington, Madrid, Bogotá, Lima, Buenos Aires entre otras. Sus fotografías han aparecido en numerosos libros y revistas y su obra se encuentra en colecciones publicas y privadas de México y el extranjero. Desde el 2008 es miembro del Sistema Nacional de Creadores. 

Gestor cultural y director del Concurso de Fotografía Contemporánea de México y el de Latinoamérica, así como del Festival Internacional de Fotografía NL-Foto en Monterrey, N.L. México. Dirige y fundo la organización sin fines de lucro Luz del Norte Fotografía, A.C. dedicada a promover y difundir la diversidad de la fotografía latinoamericana a través de variadas plataformas.