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The garden of Gethsemane from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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
Marta Dahó. Her biography follows her selections.
The series also includes responses from
Molly Roberts,
Mariela Sancari,
Alonso Castillo,
Paccarik Orue,
Katrin Eismann,
Dina Mitrani,
Don Gregorio Anton,
Cristina De Middel, Arturo Soto,
Cecilia Fajardo-Hill,
Guillermo Srodek-Hart,
Yorgos Efthymiadis,
Livia Animas,
Juanita Bermúdez,
Susana Raab, the pairing of
Victoria Holguín and Daniella Benedetti,
Emiliano Valdés,
Muriel Hasbun and
George Slade.
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 Marta Dahó. Encontrará su biografía al final del texto.
La serie también incluye contribuciones de Molly Roberts, Mariela Sancari, Alonso Castillo, Paccarik Orue, Katrin Eismann, Dina Mitrani, Don Gregorio Anton, Cristina De Middel, Arturo Soto, Cecilia Fajardo-Hill, Guillermo Srodek-Hart, Yorgos Efthymiadis, Livia Animas, Juanita Bermúdez, Susana Raab, el dúo de Victoria Holguín y Daniella Benedetti, Emiliano Valdés, Muriel Hasbun y George Slade.
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Ignacio Acosta, with
Copper Geographies, has developed a very meaningful project, for the geopolitical reflections he contributes as well as for the questions he poses regarding the challenges that photographers must confront in order to work on the drastic and dramatic transformations that a given territory experiences. How to photograph the interdependence of geographically distant events that occur almost simultaneously including such diverse realities as: labor, ecologies, social elements, politics...? With subtlety, but forcefulness, Acosta's work provides significant insight to the link between the effects of extractive industries and our way of moving and communicating with each other; dealing with the opacities of a system marked by the laws of the
Capitalocene, despite the evident limits of the photographic medium.
Ignacio Acosta, con Copper Geographies
, ha desarrollado un proyecto muy significativo, tanto por las reflexiones de orden geopolítico que aporta como por los cuestionamientos que plantea respecto de los retos con los que deben confrontarse los fotógrafos para trabajar sobre las drásticas y dramáticas transformaciones que experimenta el territorio. ¿Cómo fotografiar la interdependencia de acontecimientos geográficamente distantes que ocurren casi simultáneamente tocando, además, realidades tan diversas: laborales, ecológicas, sociales, políticas...? Con sutileza pero contundencia, el trabajo de Acosta proporciona significativas reflexiones sobre el vínculo existente entre los efectos de las industrias extractivas y nuestra forma de movernos y comunicarnos; logrando lidiar, pese a los evidentes límites del medio fotográfico, con las opacidades de un sistema marcado por las leyes del capitaloceno
.
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Waterfall beneath a high bridge from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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The west still glimmers with some streaks of day from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House,
Liverpool, England © Ignacio Acosta, 2015 |
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A sailing ship, Emma from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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In a convent garden from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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Give us this day our daily bread from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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Over some wide watered shore from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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The wreck buoy from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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Tobias and the fish from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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A sunny corner from "Hidden Circuits" (from the series "Copper Geographies"). Sudley House, Liverpool, England
© Ignacio Acosta, 2015 |
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Pablo López Luz discovered long ago the advantages of seeing from an uncommon perspective: from very high up. Initially inspired perhaps by works such as
34 Parking Lots by Ed Ruscha, he became aware not only of the realities revealed by changing one's view point, but also of how these bird-eye images interrelated with what happened at ground level. Without letting himself be carried along just by the aesthetic force that has always accompanied his projects, Pablo López Luz has continued to use photography as an instrument of observation and analysis, always dealing with another fundamental coordinate in his approach: the historical perspective. In the works centered mainly on the Latin American architectural idiosyncrasies and the presence of the pre-Columbian culture (
Pyramid, 2014) as well as in his work in Acapulco or in his most recent project, carried out in the last few years on the border between Mexico and the United States, Pablo López Luz has never stopped trying to visualize this almost transparent fabric of relations between past and present.
Pablo López Luz descubrió hace tiempo las ventajas de mirar desde una perspectiva poco frecuente: desde muy arriba. Quizás inicialmente inspirado por trabajos como 34 Parking Lots
de Ed Ruscha, tomó conciencia no solamente de las realidades que se revelaban al cambiar de punto de vista, sino también de cómo estas imágenes a vista de pájaro se interrelacionaban con lo que ocurría a ras de suelo. Sin dejarse arrastrar únicamente por la fuerza estética que siempre ha acompañado a sus proyectos, Pablo López Luz ha continuado utilizando la fotografía como instrumento de observación y análisis atendiendo siempre a otra coordenada fundamental en su planteamiento: la perspectiva histórica. Tanto en los trabajos centrados fundamentalmente en la idiosincrasia arquitectónica latinoamericana y la presencia de la cultura precolombina (Pyramid
, 2014) como en su trabajo sobre Acapulco o en su proyecto más reciente, realizado en los últimos años en la frontera entre México y Estados Unidos, Pablo López Luz nunca ha dejado de tratar de visibilizar ese tejido casi transparente de relaciones entre pasado y presente.
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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| © Pablo López Luz |
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Marta Dahó is a curator, researcher and teacher in several photography schools in Barcelona. She has a degree in Art History (UAB) and a Master in Advanced Studies in Art History (UB). She is an Associate Member of the
Art Globalization and Interculturality (AGI) Research Group at the University of Barcelona. Her work encompasses different aspects of the theory and practice of photography that she has explored through curating and writing. Her curatorial projects include the retrospective of Stephen Shore (Fundación Mapfre, 2014),
Agroperifèrics (Centro Huarte, 2014), the retrospective of Graciela Iturbide (Fundación Mapfre, 2009),
An idea of Europe (Festival Fotofreo, 2010),
Talent Latent (Festival Scan, 2008), among others.
Marta Dahó es comisaria de exposiciones, investigadora y docente en diversas escuelas de fotografía de Barcelona. Licenciada en Historia del Arte (UAB) y Máster en Estudios Avanzados de Historia del Arte (UB), es miembro asociado del Grupo de Investigación “Art Globalization and Interculturality” (AGI) de la Universidad de Barcelona. Su trabajo engloba diferentes aspectos de la teoría y la práctica de la fotografía que ha explorado a través del comisariado y la escritura. Entre sus proyectos curatoriales destacan la retrospectiva de Stephen Shore (Fundación Mapfre, 2014), Agroperifèrics
(Centro Huarte, 2014), la retrospectiva de Graciela Iturbide (Fundación Mapfre, 2009), An idea of Europe
(Festival Fotofreo, 2010) o Talent Latent
(Festival Scan, 2008), entre otros.
From From the series "Baquedano" © Pablo Zuleta Zahr
