2.17.2017

LatAm f100: Edi Hirose and Ana Teresa Barboza

© Ana Teresa Barboza

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 begin the series with selections by Cecilia Fajardo-Hill. Her biography follows her selections.

The series also includes responses from Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio Anton, Cristina De Middel and Arturo Soto.

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 inauguramos/continuamos la serie con selecciones aportadas por Cecilia Fajardo-Hill
Encontrará su biografía al final del texto.

La serie también incluye contribuciones de Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio Anton, Cristina De Middel y Arturo Soto.
______________________________

In the untitled photographs, of his series "Dominio" (2014) Edi Hirose (Peru, 1975) presents images of a landscape from the Zona de Madre de Dios del Amazonas (Mother of God in the Amazon zone). If we don't know that these landscapes are from the Amazon and that its desolation is a product of mining, we may perceive them as contemplative landscapes. It is after a second look that we recognize that the lack of vegetation is due to its extermination. Claudia Benavides writes about the project "Dominio": “Through the representation of a devastated Amazon territory, where the absence of man and his voice prevails, we are questioned about our imaginary Amazon, about the quest for our own East: an East that becomes the newest and last 'other' within the still colonial imaginary sense of the nation." Nothing is further from the old dream of gold and from the exotic and leafy jungle than the reality of the destruction of one of the world's richest and most important ecosystems.

Edi Hirose (Perú, 1975) en las fotografías Sin título, de su serie Dominio (2014) presenta imágenes de un paisaje de la Zona de Madre de Dios del Amazonas. Si no sabemos que estos paisajes son del Amazonas y que su desolación es producto de la minería, podemos percibirlos como paisajes contemplativos. Es luego de una segunda mirada que reconocemos que la falta de vegetación se debe a su exterminio. Claudia Benavides escribe sobre el proyecto Dominio: ‘A través de la representación de un territorio amazónico devastado, en donde predomina la ausencia del hombre y de su voz, se nos cuestiona sobre nuestro imaginario Amazónico, sobre la búsqueda de nuestro propio Oriente: un Oriente que deviene en el nuevo y último otro dentro del imaginario nacional aún colonial’. Nada hay más alejado del antiguo sueño del dorado y de la selva exótica y frondosa que la realidad de la destrucción de uno de los ecosistemas más ricos e importantes del mundo.

From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose


From the series "Dominio" © Edi Hirose
______________________________

About five years Ana Teresa Barboza (Peru, 1981) began to work with embroidery as a more experimental form of drawing and representation which allows her to reflect the slower rhythms of nature fundamentally invisible to the eye as can be seen in her embroidered drawings that visualize the daily growth of plants. The artist comments that: "The thread in these pieces intends to show what exists behind those events (the slow transformation of nature), demonstrating the constant transformation, marking and recording the different changes." In her "Hanging Landscapes" (Paisajes colgantes) (2012-16) the photograph is contrasted with the embroidery as a way not only of imagining and completing the landscape beyond the geometric format of photography, by overflowing it in an organic way, but also by showing nature in the landscape from a more contemplative and subjective act of observation and embroidery.

Ana Teresa Barboza (Perú, 1981) desde hace unos 5 años comienza a trabajar con el bordado como una forma más experimental de dibujo y representación que le permite reflejar los ritmos más lentos y fundamentalmente invisibles al ojo de la naturaleza, tal y como se aprecia en sus dibujos bordados que visualizan el crecimiento diario de plantas. La artista comenta: ‘el hilo en estas piezas se propone mostrar lo que existe detrás de esos eventos, (la transformación lenta de la naturaleza) demostrando la transformación constante, marcando y registrando los diferentes cambios.’ En sus Paisajes colgantes (2012-16) se contrasta la fotografía al bordado, como forma no solo de imaginar y completar el paisaje mas allá del formato geométrico de la fotografía, al desbordarla de forma orgánica, sino para mostrar la naturaleza en el paisaje a partir de un acto más contemplativo y subjetivo de la observación y el bordado.

© Ana Teresa Barboza


© Ana Teresa Barboza


© Ana Teresa Barboza


© Ana Teresa Barboza


© Ana Teresa Barboza


© Ana Teresa Barboza


© Ana Teresa Barboza


© Ana Teresa Barboza


© Ana Teresa Barboza

______________________________

Cecilia Fajardo-Hill is a British/Venezuelan art historian and curator in modern and contemporary art, specialized in Latin American art based in Southern California. She holds a PhD in Art History from the University of Essex, England, and an MA in 20th Century Art History from the Courtauld Institute of Art, London, England. Presently she is guest curator at the Hammer Museum, Los Angeles, co-curating Radical Women: Latin American Art, 1960-1985, a survey of radical artistic practices by women artists in Latin America and Latina artists, to open in 2017 under the umbrella of the Getty initiative PST LA/LA. Fajardo-Hill is currently the chief curator for the Space Collection and its initiative Abstraction in Action, a multi platform project on post 90s abstraction in Latin America.  

2.14.2017

LatAm f100: Karina Villalobos and Rodrigo Ramos

© Karina Villalobos

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 Arturo Soto. His biography follows his selections.

The series also includes responses from Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio Anton and Cristina De Middel.

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 inauguramos/continuamos la serie con selecciones aportadas por Arturo Soto
Encontrará su biografía al final del texto.

La serie también incluye contribuciones de Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina MitraniDon Gregorio Anton y Cristina De Middel.

______________________________

Karina Villalobos
The work of Karina Villalobos (Mexicali, 1976) has been characterized by a constant concern about understanding the environment as producer of identity. In the series "Adolescentes" (Teenagers) (2015 - ), Villalobos captures how the instability characteristic of this formative period aligns with the volatility of a country trapped in an eternal political immaturity. A similar uncertainty can be seen in the breadth of the empty spaces represented in "La Era del Capital" (The Age of Capital) (2011), which are erected as laments of monumental proportions to the unfulfilled promises of capitalism in a border town that experiences the glittering, as deceptive as it is seductive, of the greatest machinery of promises that has ever existed.

El trabajo de Karina Villalobos (Mexicali, 1976) se ha caracterizado por una constante preocupación por entender el entorno urbano como productor de identidad. En la serie Adolescentes (2015 - ), Villalobos captura como la inestabilidad característica de este periodo formativo se alinea con la volatilidad de un país atrapado en una eterna inmadurez política. Una incertidumbre similar se aprecia en la amplitud de los espacios vacíos representados en La Era del Capital (2011), los cuales se erigen como lamentos de proporciones monumentales a las promesas incumplidas del capitalismo, en una ciudad fronteriza que recibe el resplandor, tan engañoso como seductor, de la mayor maquinaria de promesas que haya existido jamás.  

© Karina Villalobos


© Karina Villalobos


© Karina Villalobos


© Karina Villalobos


© Karina Villalobos


© Karina Villalobos


© Karina Villalobos


© Karina Villalobos


© Karina Villalobos

______________________________

Rodrigo Ramos
In one image, two tattooed fighters melt in a hug that seems genuine, while in another, gloved hands pat on the sweaty back of a fighter. Both affective gestures coexist with images of blood, struggle and suffering. Representing the fragility of masculine sensibility has always been a challenge, and the series "Ex Corde" by Rodrigo Ramos (Mexico City, 1976) seeks to delve into the relationship between masculinity and the need to act out violence to be accepted and be a part of a community. To do something wholeheartedly means to be authentic, but also passionate, so these bodies pose the possibility that certain forms of violence lead to a spirituality and fraternity increasingly difficult to achieve.

En una imagen, dos peleadores tatuados se funden en un abrazo que se antoja genuino, mientras que en otra, unas manos enguantadas dan unas palmadas en la espalda sudorosa de un peleador. Ambos gestos afectivos conviven con imágenes de sangre, lucha y sufrimiento. Representar la fragilidad de la sensibilidad masculina siempre ha sido un reto, y la serie Ex Corde de Rodrigo Ramos (Ciudad de México, 1976) busca ahondar en la relación entre la masculinidad y la necesidad de actuar la violencia para ser aceptados y formar parte de una comunidad. Realizar algo de todo corazón implica ser autentico, pero también pasional, por lo que estos cuerpos plantean la posibilidad de que ciertas formas de violencia conduzcan a una espiritualidad y a una fraternidad cada vez más difícil de lograr. 

[Editor's note: The images below are from the series Ex Corde. The photobook of the project can be seen here.]

© Rodrigo Ramos


© Rodrigo Ramos


© Rodrigo Ramos


© Rodrigo Ramos


© Rodrigo Ramos




© Rodrigo Ramos


© Rodrigo Ramos


© Rodrigo Ramos


© Rodrigo Ramos


© Rodrigo Ramos
______________________________

Arturo Soto (Ciudad Juárez, México, 1981) is a Mexican photographer and writer. He studied film and photography at the Savannah College of Art and Design and holds postgraduate degrees from the School of Visual Arts and University College London. Soto has exhibited internationally, and has received scholarships from Jumex, CONACyT and FONCA. He currently resides in the UK, where he is a PhD candidate at the University of Oxford.

Arturo Soto (Ciudad Juárez, México, 1981) es un fotógrafo y escritor mexicano. Estudió cine y fotografía en el Savannah College of Art and Design, así como posgrados en la School of Visual Arts y University College London. Soto ha expuesto a nivel internacional, y ha sido acreedor de becas de Jumex, CONACyT-FINBA y FONCA. Actualmente reside en el Reino Unido, donde realiza un doctorado en Arte en la Universidad de Oxford. 



2.10.2017

LatAm f100: Alejandro Cartagena and Mariela Sancari

From the series "Suburbia Mexicana: People of Suburbia" © Alejandro Cartagena

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 begin the series with selections by Cristina De Middel. Her biography follows her selections.

The series also includes responses from Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina Mitrani and Don Gregorio Anton.

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 inauguramos/continuamos la serie con selecciones aportadas por 
Cristina De MiddelEncontrará su biografía al final del texto.

La serie también incluye contribuciones de Molly RobertsMariela SancariAlonso CastilloPaccarik OrueKatrin EismannDina Mitrani y Don Gregorio Anton.

______________________________

Alejandro Cartagena, is probably one of the most active photographers in Mexico and collaborates with publishing houses around the world. After "Car Poolers", the series (and book) that launched his career a few years ago ( 2012, just like "The Afronauts") his production has kept growing in quantity and quality. Certainly one of the big names in photography in Mexico now.

Alejandro Cartagena, quien es probablemente uno de los fotógrafos más activos de México y colabora con editoriales de todo el mundo. Después de "Car Poolers", la serie (y libro) que lanzó su carrera hace unos años (2012, al igual que los Afronauts) su producción ha ido creciendo en cantidad y calidad. Ciertamente uno de los grandes nombres de la fotografía en México ahora.

From the series "Carpoolers" © Alejandro Cartagena


From the series "Carpoolers" © Alejandro Cartagena


From the series "Suburbia Mexicana: Fragmented Cities" © Alejandro Cartagena


From the series "Suburbia Mexicana: Fragmented Cities" © Alejandro Cartagena


From the series "Suburbia Mexicana: Lost Rivers" © Alejandro Cartagena


From the series "Suburbia Mexicana: Lost Rivers" © Alejandro Cartagena


From the series "Between Borders" © Alejandro Cartagena


From the series "Between Borders" © Alejandro Cartagena


From the series "Between Borders" © Alejandro Cartagena

______________________________

Mariela Sancari came into the international scene with her fantastic book "Moisés" that made it to the top in the list of the best books of the year in 2015. She has ,since then, been working on developing and giving continuity to this very personal, intimate and difficult subject. Her installations and sequels of the ebook just add interest and mystery to the whole thing.

Mariela Sancari, México. Mariela entró en la escena internacional con su fantástico libro "Moisés" que llegó a la cima de la lista de los mejores libros del año en 2015. Ella desde entonces, ha estado trabajando en desarrollar y dar continuidad a este tema muy personal, íntimo y difícil. Sus instalaciones y las secuelas del ebook solo agregan más interés y misterio a todo el proyecto.


From the series Moisés © Mariela Sancari


From the series Moisés © Mariela Sancari


From the series Moisés © Mariela Sancari


From the series Moisés © Mariela Sancari


From the series Moisés © Mariela Sancari


From the series Moisés © Mariela Sancari


From the series The Two-Headed Horse © Mariela Sancari


From the series The Two-Headed Horse © Mariela Sancari


From the series The Two-Headed Horse © Mariela Sancari


From the series The Two-Headed Horse © Mariela Sancari

______________________________

Cristina De Middel is a photographer whose work investigates photography's ambiguous relationship to truth. Blending documentary and conceptual photographic practices, she plays with reconstructions and archetypes in order to build a more layered understanding of the subject she approaches. From her understanding of the mass media reducing the real understanding of the world we live in, her selection of subjects responds to the urgency of completing the portrait or re-launching the debate taking the potential of photography as the raw material for her story-telling.

After a 10 year career as a photojournalist, Cristina stepped outside of the straight documentary gaze and produced the acclaimed series "The Afronauts" (2012), which explored the history of a failed space program in Zambia in the 1960s through staged reenactments of obscure narratives that challenged the traditional depiction of the African continent. De Middel continuously produces new bodies of work. The series "This is what hatred did" (2014), "Sharkification" (2015) and "Jan Mayen" (2015), to name a few examples were all published as books in 2015. In 2015 de Middel launched her own book-publishing house; This Book is True. This Book is True features both her own publications and supports publications of promising artists. In 2016 the second edition of "The Afronauts" was published. De Middel’s work has received numerous awards in both the editorial and the artistic field, including PhotoFolio Arles 2012, the Deutsche Börse Prize, POPCAP’ 13, and the Infinity Award from the International Center of Photography in New York.