3.13.2019

LatAmf100: Roberto Tondopó and Martin Wannam

© Roberto Tondopó

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 continue the series with selections by Efrem Zelony-Mindell. His biography follows his 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 continuamos la serie con selecciones aportadas por Efrem Zelony-Mindell
Encontrará su biografía al final del texto.
______________________________

In Martin Wannam the plausible strikes with the uncanny. The queer of a Central American upbringing pushes against discomforts of religion, versus desires of human decency in this work. Wannam is a photographer, yes, but beyond his creative vernacular he is an experimenter, an alchemist, a decisive maker seemingly obsessed with accepting the unaccepted, the unusual, and maybe even the grotesque. He exemplifies, to me, the qualities necessary to be unsure of what the future may hold, but eager to know that in the hands of that uncertainty he will bring on the possibility of new worlds informed by foreign lands.

En Martin Wannam lo plausible choca con lo extraño. Lo queer de una educación centroamericana empuja contra las molestias de la religión, en contra de los deseos de decencia humana en este trabajo. Wannam es un fotógrafo, sí, pero más allá de su vernácula creatividad, es un experimentador, un alquimista, un creador decisivo que parece obsesionado con aceptar lo inaceptable, lo inusual y quizás incluso lo grotesco. Él ejemplifica, para mí, las cualidades necesarias para estar inseguro de lo que puede deparar el futuro, pero ansioso por saber que, en manos de esa incertidumbre, él traerá la posibilidad de nuevos mundos informados por tierras extranjeras.

From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam


From the series "THEY" © Martin Wannam
From the artist: In this work, I began to address Catholic imagery and hate crimes in the area of Central America and the Caribbean, where religion is one of the main reasons people discriminate against, harm, and murder members of the queer community. One of the most important demographic dynamics to understand this phenomenon is the growth and influence of evangelical churches and other religious groups on the politics and institutions of the countries of the region. Guatemala has an evangelical population of 41%, the highest in Central America, followed in its order by Honduras (39%), Nicaragua (32%), El Salvador (28%), Costa Rica (25%) and Panama (24%)

One of my interests is in the deconstruction of Catholic imagery and concepts, and in their reconstruction through queerness. Choosing the term queerness is intentional because the word is broad, and because it gives presence and power to something that Catholicism specifically refers to as not normal. Rather than normalize queerness, I want to highlight in a positive light what makes the community unique, and in doing so to overpower a heternormative system. In my second interest, I conduct research into specific instances of hate crimes, and then make pieces in which I reconstruct gestures that took place during each crime—first, to make memories political and second, to bring attention to lost voices.

In both approaches, deconstruction of religion and hate crimes, I use signs, symbols, gestures, objects and imagery that are specifically Catholic to create potential discomfort through the ostensibly disrespectful way I am using them. All of this was created with the intention to protest the way the LGTBQI+ community is vulnerable to “be victims in different ways of violence, that ranges from subtle ways of invisibility and lack of attention up to sexual aggression and death.”

As I worked with these symbolic objects, I began to increasingly question their power. I started to create my own narrative by “queering” the objects, altering their original meanings, making it a campy satire about what objects would look like in a different reality. I critique the lack of acceptance from conservative society and heightened violence of repress culture by viewing anything to do with the community as “unnatural” (and acknowledging everything “natural” to be heterosexual). I started painting crosses or sculptures pink and adding shiny and artificial materials such as glitter, condoms or fabric to interfere with a social construct of color and interpretation.

I look at each case individually, and then I impose gestures to Catholic objects on photography paper by breaking, burning, destroying or painting them, either before capturing or after printing the image. In each, I am referring to details from a specific act of violence that was made against queer people, leading to their death. I do not intend to respect these “precious objects,” but rather to reverse the roles, to bring a sense of political disturbance. In most of these hate crime cases, the perpetrator enjoys immunity and the victim’s voice is lost.

I capture images, most of the time in industrial places, to reflect the way victims bodies are disposed, which is in contrast to how manufactured religious sculptures -“precious objects”- are treated and idolized. I utilize a white, clean, generic space to emphasize that all this crime happened in a system that wants everything to be “heterosexual”. Each image that I create is presented with the name, date, and place where the crime was committed, to create a tension between the image and information for the viewer. I want this work to be direct, to speak to the corrupted system of fear and impunity that Latin Americans suffer.
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Roberto Tondopó is a dynamic storyteller. These stories start in communities with people who adore and desire the power of camaraderie. They are bloomed by their limbs and their loves of fabrics, colors, one another, and the earth. Terra transforms vision and before Tondopó’s camera an exciting and significant vein of Mexico comes to light. There is heartache, and there is affection. Through his unique treatment of photography, and what the medium is capable of, something far more personal and connective is revealed. Tondopó does not just take photos; he allows a total picture to come through by the way he sets and makes things.

Roberto Tondopó es un dinámico contador de historias. Estas historias comienzan en comunidades con gente que adora y desea el poder de la camaradería. Están florecidos por sus extremidades y sus amores por las telas, los colores, entre sí, y la tierra. Terra transforma la visión y, ante la cámara de Tondopó, surge una imagen emocionante y significativa de México. Hay angustia, y hay afecto. A través de su tratamiento único de la fotografía, y de lo que es capaz el medio, se revela algo mucho más personal y conectivo. Tondopó no solo toma fotos; él permite que aparezca una imagen total por la forma en que establece y hace las cosas.


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó


From the series "Holy Glorious San Sebastian" © Roberto Tondopó

From the artist: Holy Glorious San Sebastian is a project that shows representations of the Chuntás – men that dress as women and dance during the celebration of the Fiesta Grande in Chiapas, Mexico- as possible living San Sebastians -the saint which is offered devotion through the dance of the Chuntás during the festive celebration-. Embodied through a living body, the religious figure is granted a certain “agency”, the imagery of the saint is transformed and assumed from another perspective, where the “I – gay” of today is capable to reveal itself, to uncover, to transfigure, to become earthy and travel the mundane but also incarnate the affections from a reconfigured emotional and spiritual place, combining the sacred elements with the pagan flesh.

The photographs of the LGBTQ Chuntás subjects shows them in isolated portraits and in their context, generating photographs far from the festive atmosphere in a process from a distance that allows and reflects a private ambit with the photographed subject.

The reasons that motivated this way of “initiatory act” were personal, to return to my father's culture, and now I find myself immersed in this process, as a spiritual rebirth which is a syncretism by the mythical elements that conform both the memory of the locality and my personal history.
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Efrem Zelony-Mindell is an independent curator, writer, and artist. His curatorial endeavors include shows in NYC: n e w f l e s h, Are You Loathsome, Familiar Strange, and This Is Not Here. He writes about art for DEAR DAVE, VICE, Unseen, SPOT, Musée Magazine, Rocket Science Magazine, artist monographs, and numerous other publications. He received his BFA from the School of Visual Arts.
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This 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 BlausteinPatricia MartinJosé Luis CuevasZully SoteloAlfredo De Stefano FaríasGonzalo GolpeJulián BarónJames RodríguezMisha VallejoMusuk NolteCintia DuránAlasdair FosterEder ChiodettoErik van der Weijde, and Stella Johnson.

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 RubioJonathan BlausteinPatricia MartinJosé Luis CuevasZully Sotelo, Alfredo De Stefano Farías, Gonzalo GolpeJulián BarónJames RodríguezMusuk NolteCintia DuránAlasdair FosterEder ChiodettoErik van der Weijde, y Stella Johnson.

3.08.2019

LatAmf100: Eva Lépiz and Iaritza Menjivar

From the series "Penitentes" © Eva Lépiz

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 continue the series with selections by Stella Johnson. Her biography follows his 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 continuamos la serie con selecciones aportadas por Stella Johnson
Encontrará su biografía al final del texto.
______________________________

Eva Lépiz is photographing the changes of one of the most ancient cultures in Oaxaca, in Teotitlan del Valle, which maintains its traditions; however, migration and globalization are transforming the current generation which is reconsidering these strict yet sacred traditions. 

She teaches photography to the children and thus has close relationships with the families of the village. She combines her curiosity and knowledge of this culture with great visual skill thus creating a poetic archive of Teotitlan del Valle in transformation. This is a life-long project that transcends the actual image and asks questions of the viewer and of the participants.

Eva Lépiz está fotografiando los cambios de una de las culturas más antiguas en Oaxaca, en Teotitlán del Valle, el cual mantiene sus tradiciones; sin embargo, la migración y la globalización están transformando la generación actual que está reconsiderando estas estrictas aunque sagradas tradiciones.

Ella enseña fotografía a los niños y por esto tiene estrechas relaciones con las familias del pueblo. Ella combina su curiosidad y conocimiento de esta cultura con grandes habilidades visuales, así creando un archivo poético en transformación de Teotitlán del Valle. Este es un proyecto para toda la vida que trasciende la imagen actual y hace preguntas al espectador y a los participantes.


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz


From the series "Penitentes" © Eva Lépiz
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Iaritza Menjivar has been photographing the immigrant experience of her family and its’ impact on first-generation Americans such as herself and her cousins. It is timely and important imagery that is intimate and universal and a real look at what this experience is. We see her aunt waiting for the 5 am bus to go to work; we see the children with their hopes and dreams, unaware of the political drama unfolding around them; and we root for the first gens who are the first in their families to graduate from college. The photographs are empathetic, yet unflinching in their authenticity. This work negates the narrative about immigrants that the current White House espouses. It is important, loving and tough imagery. It needs to be shown and seen by a diverse audience.

Iaritza Menjivar ha fotografiado la experiencia inmigrante de su familia y su impacto en americanos de primera generación tales como ella y sus primos. Son imágenes oportunas e importantes que son íntimas y universales, y son una visión real de lo que es esta experiencia. Vemos a su tía esperando el autobús de las 5 am para ir a trabajar; Vemos a los niños con sus esperanzas y sueños, sin darse cuenta del drama político que se desarrolla a su alrededor; y apoyamos a los de primera generación que son los primeros en sus familias en graduarse de la universidad. Las fotografías son empáticas, pero inquebrantables en su autenticidad. Este trabajo niega la narrativa sobre los inmigrantes que defiende la actual Casa Blanca. Son imágenes importantes, amorosas y duras. Necesitan ser mostradas y vistas por un público diverso.

© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar


© Iaritza Menjivar
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Stella Johnson is a photographer and educator known for her passionate and honest documentary projects. She received a Core Fulbright Scholar Grant to photograph in Mexico in 2003, and Fulbright Specialist grants to teach in Mexico in 2006 and in Colombia in 2018. The University of Maine Press published her monograph, Al Sol: Photographs from Mexico, Cameroon and Nicaragua in 2008. Johnson’s photographs have been widely exhibited in the United States and internationally.

A dedicated educator, Johnson holds teaching positions at Boston University and Lesley University College of Art and Design. She also teaches workshops in Greece, Cuba, Colombia and Mexico. She was a 2013 finalist for the Massachusetts Cultural Council Artist Fellowship, Photolucida Critical Mass Top 50, twice, and a nominee for the Boston Foundation’s Brother Thomas Fellowship. Johnson’s work has received numerous honors including a New England Foundation for the Arts Cultural Collaborative Artist-in-Residence Grant and Julia Margaret Cameron Award.

Johnson holds a BFA from The San Francisco Art Institute and an MS in Journalism from Boston University. Her work is held in public collections including The DeCordova Museum and Sculpture Park, The Haggerty Museum of Art, The Museum of Fine Arts, Houston, The Portland Museum of Art, and The Southeast Museum of Photography, among others. 
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This 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 BlausteinPatricia MartinJosé Luis CuevasZully SoteloAlfredo De Stefano FaríasGonzalo GolpeJulián BarónJames RodríguezMisha VallejoMusuk NolteCintia DuránAlasdair FosterEder Chiodetto, and Erik van der Weijde.

3.04.2019

LatAm f100: Fabiano Lemos and Thales Pessoa

© Thales Pessoa

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 continue the series with selections by Erik van der Weijde. His biography follows his 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 continuamos la serie con selecciones aportadas por 
Erik van der WeijdeEncontrará su biografía al final del texto.
______________________________

Fotos dos Outros is a project by Brazilian artist Fabiano Lemos aiming to collect the forgotten and thrown away photographs by others. I see this unique collection as a fresh way of looking at Brazilian photography and daily life, seen through the lens, or scanner in this case, of an artist who uses his sensibility to create a new context for the vernacular.

Fotos dos Outros [Fotos de los otros] es un proyecto por el artista brasileño Fabiano Lemos que apunta a coleccionar las fotografías olvidadas y tiradas por otros, veo esta colección única como una forma fresca de miarar la fotografía brasileña y la vida cotidiana, vistas a través del lente, o el escáner en este caso, de un artista que usa su sensibilidad para crear un nuevo contexto para lo vernáculo.

© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos


© Fabiano Lemos

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Thales Pessoa is a young Brazilian photographer and film maker who can create intimate portraits of men living on and from the streets in South America. He uses analogue equipment to connect to these men and I deeply respect the how he handles the dangers these encounters sometimes carry. I am fascinated by never knowing the real intentions of the photographer and his subject within these encounters.

Thales Pessoa es un joven fotógrafo y cineasta brasileño que puede crear retratos íntimos de hombres viviendo en y de las calles en Suramérica. Él usa equipos análogos para conectar con estos hombres y yo respeto profundamente como él maneja los peligros que estos encuentros algunas veces conllevan. Estoy fascinado al nunca saber las intenciones reales del fotógrafo y su sujeto dentro de estos encuentros.

© Thales Pessoa


© Thales Pessoa


© Thales Pessoa


© Thales Pessoa


© Thales Pessoa


© Thales Pessoa

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Erik van der Weijde (1977) is a Dutch artist whose work consists of (self) published books and photographic series. Currently he teaches at the Rietveld Academy and works with Roma Publications.
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This 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 BlausteinPatricia MartinJosé Luis CuevasZully SoteloAlfredo De Stefano FaríasGonzalo GolpeJulián BarónJames RodríguezMisha VallejoMusuk NolteCintia DuránAlasdair Foster and Eder Chiodetto.