1.13.2017

LatAm f100: Fabiola Cedillo Crespo and Agustín Zuluaga Olarte

© Fabiola Cedillo Crespo
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 Mariela Sancari. Her biography follows her selections.

The series also includes responses from Molly Roberts.

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 Mariela Sancari
Encontrará su biografía al final del texto.

La serie también incluye contribuciones de Molly Roberts.

______________________________

Fabiola Cedillo Crespo is a young photographer and sculptor from Ecuador. Her series Los mundos de Tita (The Worlds of Tita) was published as a photobook.

Fabiola Cedillo Crespo es una joven fotógrafa y escultora de Ecuador. Su serie "Los mundos de Tita", fue publicado como fotolibro.

© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo


© Fabiola Cedillo Crespo
______________________________

Agustín Zuluaga Olarte is a Colombian photographer with a deep and mature work. His images reflect a powerful dialogue between his imaginations and his perceptions of reality, sometimes dreamlike and always charged with emotion. His recent book Santísimo Sacramento explores, through photographs from his family archive, notions such as memory, forgetfulness and lucidity, associations in a reflection related to the medium and the photographic image.

Agustín Zuluaga Olarte es un fotógrafo colombiano con un trabajo profundo y maduro. Sus imágenes reflejan un poderoso diálogo entre su imaginario y sus percepciones de la realidad, a veces oníricas y siempre cargadas de emotividad. Su reciente libro "Santísimo Sacramento" explora, a través del fotografías de su archivo familiar, nociones como la memoria, el olvido y la lucidez, asociándolas en una reflexión relacionada al medio y a la imagen fotográfica.

From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte


From the series "La Familia Revelada" © Agustín Zuluaga Olarte

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Mariela Sancari was born in Buenos Aires, Argentina in 1976. Since 1997 she has lived and worked in Mexico City.

Her work revolves around identity and memory. It examines the personal relationships associated with memory and the thin, elusive line separating memories and fiction.

She has received numerous awards: selected by curator Susan Bright for the 2015 issue of Ones to Watch of BJP magazine, she was also named one of the Discoveries of the Meeting Place of FotoFest 2014. Winner of the VI National Biennial of Visual Arts Yucatán 2013 and the award Descubrimientos PHotoEspaña 2014, her work was selected at the XVI Photography Biennial of the Centro de la Imagen and received Honorable Mention at the XI Monterrey Biennial FEMSA, with her series Moisés.

Her first book Moisés was selected by several curators and specialists such as Sean O'Hagan, Tim Clark, Erik Kessels, Jörg Colberg, Larissa Leclair, Yumi Goto and Colin Pantall as one of the best photobooks of 2015.

She has participated in numerous solo and group exhibitions in Mexico City and abroad in cities such as New York, Madrid, Barcelona, Buenos Aires, Guatemala City, Sao Paulo, Fort Collins, Houston, Busan (Korea) and Cork (Ireland).

Her work is part of the Collection of the Instituto de Cultura de Yucatán, the Centro de las Artes de Alcobendas in Spain, the Joaquim Paiva Collection in Rio de Janeiro, the Televisa Foundation and the Centro de la Imagen in Mexico City.

Mariela Sancari nació en Buenos Aires, Argentina en 1976. Vive y trabaja en la Ciudad de México desde 1997.

Su trabajo gira en torno a la identidad y la memoria. Examina las relaciones personales vinculadas con la memoria y la delgada y esquiva línea que separa los recuerdos y la ficción.

Ha recibido numerosos reconocimientos: seleccionada por la curadora Susan Bright para el número 2015 Ones to Watch de la revista BJP, también fue nombrada uno de los Discoveries of the Meeting Place de FotoFest 2014. Ganadora de la VI Bienal Nacional de Artes Visuales Yucatán 2013 y del Premio Descubrimientos PHotoEspaña 2014, su trabajo fue seleccionado en la XVI Bienal de Fotografía del Centro de la Imagen y recibió Mención Honorífica en la XI Bienal Monterrey FEMSA, con su serie Moisés.

Su primer libro Moisés fue seleccionado por varios curadores y especialistas como Sean O'Hagan, Tim Clark, Erik Kessels, Jörg Colberg, Larissa Leclair, Yumi Goto and Colin Pantall como uno de los mejores fotolibros del 2015.

Ha participado en numerosas exposiciones individuales y colectivas en la Ciudad de México y en el extranjero en ciudades como Nueva York, Madrid, Barcelona, Buenos Aires, Ciudad de Guatemala, Sao Paulo, Fort Collins, Houston, Busan (Corea) y Cork (Irlanda).

Su obra forma parte de la Colección del Instituto de Cultura de Yucatán, del Centro de las Artes de Alcobendas en España, de la Colección de Joaquim Paiva en Río de Janeiro, de la Fundación Televisa y del Centro de la Imagen en la Ciudad de México.

1.10.2017

LatAm f100: Christian Rodriguez and Emmanuel Guillén Lozano

From the series "Teen Mom" © Christian Rodriguez

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 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 begin the series with selections by Molly Roberts. Her biography follows her selections.

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 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 inauguramos la serie con selecciones aportadas por Molly Roberts
Encontrará su biografía al final del texto.
______________________________

Molly Roberts:
Christian Rodriguez [of Uruguay] photographs themes related to gender and identity. He is working on a major long-term project entitled “Teen Mom,” about teenage pregnancy in Latin America.

Christian Rodríguez [de Uruguay] fotografía temas relacionados con el género y la identidad. Actualmente, está trabajando en un importante proyecto a largo plazo titulado "Teen Mom", sobre el embarazo adolescente en América Latina.

From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez


From the series "Teen Mom" © Christian Rodriguez
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Also, a young man, Emmanuel Guillén Lozano of Pachuca, Mexico is an emerging photographer who continues to  document the families of the missing Ayotzinapa students in Mexico City and in the state of Guerrero, to keep their memory alive and to press for accountability from the Mexican government. His photographs of the surviving families are poignant and empathetic.

Emmanuel Guillén Lozano, originario de Pachuca, México, es un fotógrafo emergente que continúa documentando las familias de los estudiantes desaparecidos de Ayotzinapa en la Ciudad de México y en el estado de Guerrero. Su intención es doble: mantener viva su memoria y presionar el gobierno mexicano a hacer justicia. Sus fotografías de las familias supervivientes son conmovedoras y empáticas.

© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano


© Emmanuel Guillén Lozano

______________________________

Molly Roberts is a photography editor for National Geographic Magazine. For the last 25 years, in magazines, books, websites, newspapers, apps and on gallery walls, she has advocated for visual storytelling and promoted photography’s powerful ability to communicate effectively and to convey emotion. Working with photographers and images to create visual stories with great impact in order to stimulate ideas and inform opinions, is a life-long passion.

Molly Roberts es una editora de fotografía para la revista National Geographic. Durante los últimos 25 años, en revistas, libros, sitios web, periódicos, aplicaciones y paredes de galerías, ha defendido la narración visual y ha promovido la poderosa capacidad de la fotografía para comunicarse eficazmente y transmitir emoción. Trabajando con fotógrafos e imágenes para crear historias visuales con gran impacto para estimular ideas e informar opiniones, es una pasión para toda la vida.

12.12.2016

Independently Published Photobooks: Anouk Kruithof


Post by Antone Dolezal

After a brief hiatus, I am pleased to revive the artist interviews for fototazo's Independently Published Photobooks. My intention behind this column has always been to fill a niche I thought was missing from the regular discourse on the artist book. That niche being an in-depth discussion with successful book artists – all of whom come from a diverse array of perspectives and experience - on the conceptual and aesthetic deconstruction of the artist book, while also drawing a clear focus on demystifying the various ins-and-outs of the publishing world. It is my hope that this series of interviews can function as a collective resource for anyone looking to publish their own work.

Previous installments of Independently Published Photobooks include conversations with Christina De MiddelPaccarik Orue and Lex Thompson.

To date, the prolific Dutch artist Anouk Kruithof has published 11 books. Some of these titles have been self-published, while others have been in close collaboration with independent publishers such as Editorial RM, RVB, KODOJI and Little Brown Mushroom. She also works alongside some of the best designers in the art book world, so her inclusion in this column seemed a perfect match. Kruithof's new title, AUTOMAGIC is quite possibly her most ambitious book yet. It is at first a book-object - representing the playful nature found elsewhere in the artist's sculptural and visual installations - while also serving as an exploration into the representation of the image archive. Slipped into an acrylic case, the 9 individual books that make up this work form a multi-layered viewing experience that is an intrepid venture into the possibilities of the medium of photography.


______________________________ 


Anotone Dolezal: First, Congratulations on your new book AUTOMAGIC! Could you give us a brief introduction to the new book and how the concept and design came together?

Anouk Kruithof: AUTOMAGIC started out with a massive amount of photos, thousands that I took between 2003 and 2015 with small digital cameras, which later were replaced with successive versions of iPhones. Rapidly, this enormous archive of images grew and developed quite playfully. But it was a long process to arrive at the moment to start thinking that this archive could turn into a book project. In the first, let's say 8 years, this was never an idea. But in 2011, I started making a first selection by looking at all those images and questioning them in their relation to the others. The only thing I knew was that I didn't want this book to have a clear narrative, because it exists out of a very wide collection of images made everywhere that I travelled to or lived in. The whole point was the idea of mixing an enormous, mostly travel photo archive without the obvious organizing based solely upon chronology for example. I took the freedom to mix up all origins of the images in one big pot and stir it around for years. Looking at them, thinking about them, de-contextualizing, interpreting and reworking them into the nine different image chapters which together with this one textbook now form the ten separate books which constitute AUTOMAGIC. It is an attempt at erasing geographical locations and borders and to unify people. I like to see the book as a holistic idea. Maybe pretentious? Maybe impossible? That’s fine. It's about ideas.




AD: When we last spoke, you had mentioned AUTOMAGIC incorporates more of a personal narrative than past work. I imagine this was largely due to how the images you were mining informed one another. Is this an accurate assumption, or did you intentional set out to create a book that spoke more to your personal story?

AK: The source of AUTOMAGIC is a large group of images that I took mostly following my intuition to see where this led me; it’s more personal I think, because what you see here is my pleasure in being an image-maker. I always made images loosely, freely, playfully next to my more conceptual project-based practice. I would say it’s a natural habit ingrained in me. I am always seeing things around me and photographing them, kind of like sculpting in the world out there. The images are not snapshots, they are more playful, registered moments. Sometimes what I photograph is more organic, while other times it is more deliberately constructed. Actually, I did not put any value on this growing archive of images up until I had enough images that it felt legitimate to make a new book out of. This wasn't the case until April 2011, but I started producing these images many years earlier, when I was still studying at the art academy, around 2002.




AD: A big reason I wanted to bring you into the dialogue set up through this column is because your books accentuate the importance of the artist book as object. Your work extends far beyond the conventions of photography through the incorporation of sculpture, installation and performance. I'm curious to know how these various modes of working merge together and inform one another to construct your practice as a book artist?

AK: To me there is no hierarchy actually in how my works find their existence in the outside world. Publishing is liberating and democratic, it's exiting to see how works (books) can find destinations all over the world into the shelves and hands of people you have no idea about actually. The artist book is intimate and has no opening hours. Distribution of books is democratic. When I am invited for exhibitions, I am considering space, time and public as elements to work with, which is way less "framed" than the space of a book obviously. My works always start with topics of my interests which I transform into ideas, according to the framework of invitation, the final works can develop in all these various outcomes; installations, public interventions, performances, sculpture, photo-montage, video, photos, artist-books. It's more that the way I think and make never has a fixed frame around it, so that the nature of the final work can vary in quite a wide palette. The worst feeling to me would be if I repeat myself.


AD: With some of your books you take the responsibility of designer, however it seems like another contributing factor to the success of your books is the designers you work with including Christof Nussli, Hans Gremmen, Piera Wolf, Hans Seeger and Quentin Walesch. Can you elaborate on the difference between going it alone compared to working with an outside designer? How does this process transform your own notions and concepts about the work and where do the strengths lay in hiring a designer you trust?

AK: I am always quite strongly involved in the design of my books, but I work with designers I admire and respect, and therefore a deep conversation starts the process of developing books and they come out in a very close collaboration between the designer and myself. Maybe only in the case of "Happy Birthday to You" I really did the handicapped design on my own out of urgency, it's quite funny, that book is almost a mentally confused design I have to admit, but it became a success, not sure if that has to do with the design though, probably with all the ingredients the book carries, from the birthday topic, to the close collaboration with the patience and their favorite colors.




AD: Although you self-publish some of your books, you have also worked with many different publishers including Little Brown Mushroom, KODOJI, Editorial RM, RVB, Onomatopee, Revolver Publishing, Episode Publishers. Can you tell us a bit about the differences and the benefits between self-publishing and having the support of a publisher?

AK:  Indeed I self-published a few books: "Happy Birthday to You", "Untitled(I’ve taken too many photos / I’ve never taken a photo)",  "NEUTRAL" and now AUTOMAGIC halfly, because it is a publishing collaboration between myself (stresspress.biz) and Editorial RM. We deal with the book 50:50.

Working with several publishers brings strength, when you self-publish you don't have a proper distribution for your book and that makes it harder or maybe slower, a bit more mouth-to-mouth spread around or doing a lot of effort in getting your books into stores around the world. I think in the sense of making the books, there is an uncompromised outcome within self-publishing and it is fast and creatively and intellectually liberating, but in terms of the distribution and presentation, it's way more interesting to collaborate with publishers. There are some many good art book publishers out there in the world. They have their own distinctive discourse and work methods; it's an honor to work with these publishers and it is not to underestimate the work they do. I clearly know this now after seeing the work ethic of various publishers. It's not easy. Art or Photobook publishing is not lucrative, it's for the heart you're doing it, otherwise you better forget about it. But it's also that your book has to fit in the frame of a publisher to obtain a relation. I think the reason why I have worked with so many different publishers and self-published as well is the nature of my work. My work is not so easy to pin down or try to drag through a closed tunnel. My work is eclectic and this resonates also in the various ways of how my books find their existence. From collaboration with publishers and designers I learn a lot, that's as well what attracts me in any kind of collaboration actually.




AD: There is an apparent consideration in who you choose to work with regarding book publishers. I imagine you don't go for the pay-to-play platform that has recently saturated the photobook market. Can you talk a bit on your personal criteria and the importance of how you decide which publishers you choose to work with?

AK: Maybe it's more that solid classic photobook-publishers would never want to work with me haha… Some of my books (Playing Borders, Pixel-Stress, Untitled (I’ve taken too many photos / I’ve never taken a photo) The Daily Exhaustion, Happy Birthday to You) are not easy to bring out, the loose leaflet formats, folded posters and unstable books which can barely stand on a shelf or fall apart when you take them out of the plastic sleeves. The loose elements are an understandable horror for many bookstores, taking in consideration exceptions such as motto, printed matter, smaller independent art or photobook stores, we should all praise for their work and existence in the digital age. Even AUTOMAGIC is hard because it's fragile, the plexi-box is delicate and the 10 books inside have no covers which makes them fragile too. There are a huge amount of bookstores who say no to this book-object, but anyway the way I make books I am not concerned with the elements which can make the book a success or easy to sell. It's not important to me at all. When I was younger maybe I thought that's relevant but not anymore, a book can have a slow life too and it's beautiful when an edition over a couple of years, 3, 5 or even 10 finds the right owners who love the book for what it is. That's my goal and nothing else.


AD: On that note, what is your advice for other artists looking to get their work published as a book?

AK: Self-publish and Be Happy + send your book with a YouTube song to SPBH and after send it in for The Anamorphosis Prize ;)

AD: Speaking of the Anamorphosis Prize, alongside John Phelan, you recently established this award to celebrate the rise and excitement behind self-publishing. The reason I love this competition so much is first, it's free to enter and also the shortlisted books are fairly esoteric and surprising. How has being a founder and juror for this prize changed the way you view the world of the self-published artist book? What are you surprised by and excited for when viewing these books?

AK: I feel I am privileged to have a peak into all of these self-published photo-based books from all over the world, which get sent in for the Prize's edition, because of the fact that among the submissions literally the best books of the year are there and books which you could never imagine in extremeness of either content or form are there. Mostly I learn from looking at books, judging them, writing about them for the jury rapport and the special mentions, it stimulates myself and my practice too in the intense and challenging process of reviewing and judging the books with the most incredible minds of the other jury members, Charlotte Cotton, John Phelan and Martha Wilson.


______________________________

All documentation photos and video footage of Automagic by Anouk Kruithof

Anouk Kruithof is a Dutch artist, working between Mexico City, New York City, and The Netherlands. She has exhibited internationally at institutions such as MoMA, New York; the Stedelijk Museum, Amsterdam; Sprengel Museum, Hannover; and Multimedia Art Museum, Moscow. Her work is in the collections of Fotomuseum Winterthur, Aperture Foundation, FOAM, and the Stedelijk Museum. Anouk Kruithof is one of the five nominees of the Volkskrant Beeldende Kunstprijs 2016. Kruithof runs the publishing platform stresspress.biz and is co-creator, director and jury member of the Anamorphosis Prize.

Her project #EVIDENCE will be on view from January 14th 2017 at Casemore Kirkeby in San Francisco







Antone Dolezal is a photographer currently residing in Syracuse, NY. His photographs have been shown widely, including exhibitions at 555 Gallery (Boston), Candela Gallery (Richmond), Filter Space (Chicago), Museo Nacional de Arqueología y Etnología (Guatemala City), photo-eye Books & Prints (Santa Fe), Webber Represents Gallery (London), and are held in various private and public collections including the Museum of Modern Art Library, Museum of Contemporary Photography, New Mexico Museum of Art, and the Nelson-Atkins Museum of Art (Kansas City).