fototazo: Margarita Valdivieso

Showing posts with label Margarita Valdivieso. Show all posts

12.11.2017

fototazo Mexico Workshops 2017

In Bogotá, getting ready to board a Wingo flight to Mexico. Yes, Wingo is an airline.

I recently travelled to Mexico with ten former fototazo microgrant recipients who have come together as a collective to support their continued education and development. The group consists of Alba Bran, Andrés Sánchez, Angélica María Restrepo, Aura Lambertinez, Eric Robledo, Edwin Ochoa Vélez, Juliana Henao Alcaraz, Margarita Valdivieso, Mónica Lorenza Taborda and Natalia Lopera.

Our trip from November 20th through December 7th included intensive workshops in Mexico City at Centro de la Imagen with Valentina Abenavoli, Patricia Lagarde and Yvonne Vanegas in an event entitled Folio 001. Our time in Mexico City also included additional workshops outside the event with Larissa Leclair and Mariela Sancari.

We next stopped in Oaxaca for visits to Acervo de Toledo, Centro de las Artes San Agustín, Centro Fotográfico Manuel Álvarez Bravo and Instituto de Artes Gráficas de Oaxaca as well as for the chance to sit down with Eva Lépiz.

Donors contributed $4,366.56 towards this experience under the banner of Microgrant 21.

Workshop with Larissa Leclair at Centro de la Imagen

Margarita and Andrés (the two farthest to the right) with students from Mexico working with Valentina Abenavoli

Night out in Mexico City at a pretty fantastic cantina. Note the meat with a knife stuck in it, center of table. That was the presentation.

In Oaxaca with Eva Lépiz

With Eva Lépiz. At some point in these photos I fear you'll realize I didn't bring enough t-shirts and am too cheap to hire out laundry.

Getting the guided tour of Centro de las Artes San Agustín with Javier León Cuevas. Applications to the residency program there from
Colombia sure to spike by 1000% next year.

At Centro de las Artes San Agustín

The ten at the opening of Aura, Edwin and Mónica's exhibition "Ensoñaciones amarillas" in Oaxaca's Casa de la Cultura Oaxaqueña

The gang with special trip guest Raphael Crawford, Chair of fototazo's Board of Directors and a major donor to our trip

I discovered a solution to my perennial t-shirt problem to be no shirt at all. At Hierve el Agua outside Oaxaca.

It was a hell of a ride. Eternal thanks to these special ten.

3.17.2017

Interview: Margarita Valdivieso

Margarita Valdivieso was a fototazo microgrant recipient in 2011. In 2015 she took part in the Intensive Workshop for Emerging Latin American Photographers at the University of Iowa through fototazo. In 2016 she held a residency at The Fountainhead in Miami. Between the two experiences she developed her project Missed Connections.

Valdivieso is a visual artist based in Medellin, Colombia. Within her artistic practice she's interested in questioning and subverting cultural phenomena related to specific local contexts, territories or communities. Specifically, she has worked with the notions of body/landscapes, gender and identity among others. She's been awarded the fototazo Microgrant (2011), selected as an artist for the Vivarte Residency in Sao Paulo, Brazil (2012), awarded funds for the publication of the magazine Cosmopolitican Colombia (2014) from the Artist of the UDEA Researchers Fund, selected as the grant winner of the Alps Art Academy in Switzerland (2016) and selected for a scholarship by the Colombian Ministry of Culture for the artist residency "Missed Connections” at The Fountainhead Residency, Miami (2016). She was also selected for the book Colombian Women Photographers that will be released in spring 2017 and was just selected to participate in the New York Portfolio review in April 2017 conducted by The New York Times Lens Blog and the CUNY Graduate School of Journalism.

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fototazo: Tell us about the basics of "Missed Connections" and its development.

Margarita Valdivieso: "Missed Connections" is based on a section of Craigslist where people write about missed connections that they had with other people on the streets. The section is subcategorized into genders - for example men for women, women for women, etc. - and it aims to reconnect you with people you may have seen, but not talked to or had real contact with. I find the concept "missed connection" a particular cultural idea that creates a scenario and narrative that I'm interested in working with.

f: What are some of the ways that the specifics of place in Iowa and Miami influence the visual development of your project?

MV: I think every place gives me clues and ideas to create variations of the same big aesthetic constellation. Every city gives you a different pattern of color and circumstances: in Miami, for example, the idea and reality of water and of a humid place were very important. It allowed me to shoot and experiment with underwater disposable cameras and recognize a palette of colors that were very particular to this context.

f: The American landscape has a long and rich tradition in both painting and photography and I think that makes it one of the harder genres to work in. As you explore the country for the first time, what is your engagement with this tradition and how have you looked to move beyond repeating traditional genre formula?

MV: This project is a commentary about American landscape through the narratives of modern love and how culture affects landscape and creates it. I've been more influenced by Latin American landscape, aesthetics and imaginations and for me, to think about the American landscape is to create connections and understand differences between the American and Latin American traditions. Although I've been influenced by some American artists whom have developed ideas around the same topic, such as Edward Hopper, I like my position as an outsider that allows me to look at the landscape as a whole portrait of a culture.

f: In an interview with the Colombian photography site Fotomeraki, you state the project takes a sarcastic and critical stance of online social romantic phenomena and also the American landscape. What about these subjects has caused you to develop that stance, and is there a reason for coming to assume the same stance towards both?

MV: In the interview I was talking about how, through my project, I try to be sarcastic about online romantic phenomena. Nevertheless, I'm not assuming the same stance about the American landscape. I utilize the landscape to make a portrait or create a comparison between reality and the missed connection expressions of love. In that sense, I feel that by taking pictures of landscapes I'm approaching that sarcastic touch, but my feeling about it is more of the sensation of solitude of a country where people mostly live "inside."

Page spread from the "Missed Connections" book maquette © Margarita Valdivieso

f: A lot of the images to me feel wistful, melancholic, meditative, quiet and emotionally honest. Do you agree? If you do, how does that kind of image-making work with ideas of sarcasm and critique?

MV: I do completely agree. The landscape is alive and it has its own emotional weight. My intention is to create a critical perspective on the topic of the expressions of love in modernity. The sarcasm comes by the comparison of the pictures and the solitude of the landscapes. This is why fanzines or photobooks are such an important format in the development of this project because they allow me to place the image and the text side by side, heightening the contrast between them.

Page spread from the "Missed Connections" book maquette © Margarita Valdivieso

f: Other photography projects have worked with social media, most notably Nate Larson and Marni Shindelman's Geolocation project which they began in 2007. How does your project relate – or does it relate – to the existing photographic conversation about social media?

MV: Yes, social media or virtuality is an important concept of this project; does social media affect, transform or re-create landscapes?

f: Finally, in Miami you presented "Missed Connections" as a live event with musicians singing boleros. Can you tell us more about it?

MV: Yes, "Missed Connections" is also a collaborative project. The intention of doing performances or happenings is to create interactions with poets where I take photographs; the events also include slam poetry and popular regional music, because musicians can bring endemic narratives, atmospheres and local tales to the project. It is a project based on the American landscape built on the locality.

Missed Connections performance, Miami, 2016 © Margarita Valdivieso

8.31.2015

Mono Colectivo US Trip 2015: Margarita Valdivieso and Juliana Henao Alcaraz

From the series "Missed connections" © Margarita Valdivieso

To awake from our extended summer break, we're starting off by featuring a selection of portfolios made by the nine fototazo microgrant recipients during their 10-day workshop at the University of Iowa in late June and early July.

Their portfolios will be featured over the next several days with a short text on the work in the original Spanish with an English translation presented after the images. Today we feature the work of Margarita Valdivieso and Juliana Henao Alcaraz.

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From the series "Missed connections" © Margarita Valdivieso

Missed connections
Margarita Valdivieso

This project is a photographic portrait of Iowa City through the narratives of love in the virtual world. Produced during a short photography workshop at the University of Iowa, USA, I used the famous page Craigslist to portray the city through people who post ads for missed connections online. Thus, by curating a selection of stories, I create images that, in the place where the missed connection has happened, evoke or provoke, sarcastically or disconcertingly, the landscapes where these "missed connections" occurred.

Este proyecto fotográfico es un retrato de la ciudad de Iowa a través de las narrativas del amor en el mundo virtual. Producido a partir de una corta residencia y taller de fotografía en la Universidad de Iowa, EE.UU; utilicé la famosa pagina de anuncios "craigslist" para retratar la ciudad a partir de los anuncios de missed connections que postean las personas en internet. Así, curando una selección de historias, creo imágenes que, en el lugar donde se ha desarrollado la historia, evoquen o provoquen de manera sarcástica o desconcertante los paisajes donde estas "conexiones perdidas" ocurrieron.

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From the series "Homecity" © Juliana Henao Alcaraz

Homecity
Juliana Henao Alcaraz

On my trip to Iowa, I started living situations that I had never faced before, given that it was the first time I had left my country. Feelings including confusion, being lost or constantly looking for a place led me to reflect on my relationship with an unknown location that tries to acknowledge me and be pleasant to me, but that ultimately fails to create a complete connection with me. The failure comes from various barriers such as language, spatial location or simply by being something completely new to me and by missing what is known to me. Homecity tries to reference these situations by presenting paths without exits and spaces that do not go beyond trying to manufacture a sense of the warmth of home.

En mi viaje a Iowa USA empecé a vivir situaciones a las que nunca me había enfrentado, ya que era la primera vez que salía del país. Sentimientos como confusión, estar perdida o buscando un lugar siempre, me llevaron a reflexionar sobre mi relación con un espacio desconocido que trata de reconocerme y ser agradable pero que al final no logra esa conexión completa por diferentes barreras como: el idioma, la ubicación del espacio o simplemente por el hecho de ser algo completamente nuevo para mí y extrañar lo conocido. Homecity, trata de referirse a estas situaciones con recorridos sin salida y espacios que se quedan en el intento de representar el calor de hogar.

7.30.2014

Classroom: Margarita Valdivieso

fototazo began a mentorship program in 2012, matching young Colombian photographers with mentors from across the spectrum of the photographic world - gallery owners, bloggers, academics, art directors and working photographers. The goal is to provide the young photographers with commentary and advice on their work from professionals in the field and to expand their network and knowledge of resources beyond Colombia.

The program started behind the scenes, but in an effort to create a singular conversation, share with readers work being made by the photographers and under the belief that the advice, insight and ways of talking about images offered by the mentors will be useful and interesting to other photographers, we are experimenting with making the process a public one.

We periodically feature a selection of images from a photographer involved in the program and comments from mentors. Older posts will be available through the site links page.

This post features the work of Margarita Valdivieso - who was our fourth microgrant recipient - and comments from her assigned mentors, Matt Johnston and Kevin Thrasher, as well as additional comments from Dawn Roe and Mariela Sancari.

The image numbers in the text correspond to those below the images in the caption.

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Margarita sent this note to her mentors about the work:

Statement
Self-Portraits
PROJECT IN PROGRESS

"Self-portraits" is a photography project or "relational photography" as I call it. It comes from a series of artistic exercises I did in 2010 with objects that I felt some empathy towards and that belonged to one of the various houses that I have lived in. Since 2012 I have built from those old exercises the idea of a project titled "AUTORRETRATOS" (Self-portraits) in which I collaborate with women in the creative arts around the idea of identity being reflected in personal items. In this project, I invite these women to take a still life in the space that they live in composed of the objects that they consider represent them; some have also written texts reflecting on this exercise.

During the course of the project, I began taking photographs in scheduled meetings with each of the women in which we had conversations around the theme of identity and we ended our meetings by either making a photograph together or with the subject making a photograph of her objects or the spaces that deal with the project's theme.

The project is composed of still lives, photographs of the process and video interviews with the women.

MY QUESTIONS:

I think my concerns are more related to the formalization of the project, that is to say how to present it: through a book, a blog, gallery prints...I would like to have suggestions in this regard and I would also appreciate a critique of the photographs themselves, thinking formally about the color, composition, etc., but also about their relevance to the concept.

Finally, I'd like any references you might have in order to know about more artists that have worked with a similar method in photography.

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Comments from Dawn Roe:

Hello Margarita,

Thank you for allowing me to look over your work. We've not corresponded before, so I hope you don't mind my contribution. I have a bunch of feedback for you!

When I initially looked at this set of images without reading the accompanying statement, I was immediately drawn to the still life reference and indeed began to think about the relationship between objects/material/space and identity. I also noticed electronic technology in the form of computer screens turning up within the images and/or the feeling that some images had been captured via a screen grab or were themselves images taken of the screen. As well, the camera itself shows up frequently. These aspects seemed important to me, as a viewer, but I wasn't quite sure how to link that with the varying sorts of still life aesthetic within each photograph – I started to wonder if the distancing effects of technology and our relationship to photography were part of the conversation within the work.

You are right to start thinking about how the work will ultimately take shape in terms of how it is encountered by the viewer. If the collaborative participation is a fundamental aspect, it does seem as though secondary materials in the form of written text or video interviews would need to accompany the imagery – this could certainly happen on a blog or website dedicated to the project, but could also be formed into a gallery installation or physical book. You will likely need to test out many strategies in the studio and online. Make prints, type out text, edit video sequences – work with these materials as objects. The work need not take only one form – it might exist in several, and may shift a bit, depending on context.

I wonder if it might not be useful to do a bit more writing about your project to help you distill your ideas a bit. Currently, it seems there are a few different threads running through – objects/identity - collaborative exchange – women and agency. These are certainly not mutually exclusive, but it's not entirely clear how they are coming together in the images themselves at this point, as the set is a bit formally disparate – ranging from grainy, (seemingly) purposefully lo-fi imagery, to commercial style studio work, to street photography, to atmospheric interiors, to beautifully lit more "traditional" still life studies, full of texture and ambience.

As to the images themselves, as mentioned, they are pretty disparate at this point and very formally distinct, so it's a bit hard to critique them as a cohesive group – however, if what you want is for this variance to come through (due to the fact that the images are made by different people, and you want the viewer to notice/think about that) then you may have to begin by establishing some criteria for yourself in terms of what formal qualities are important to you – which can be hard if you are not in control as the photographer for each image (although you can be very selective in editing, and choose only those that "work" with another from each participant). If the project is meant to be seen as socially engaged/relational work, the criteria may well be different from a more straightforward, documentary/conceptual project. This goes back to your questions around how the work will be seen – I think that is largely what will help you to begin establishing your criteria.

As it stands, there are a number of striking images in the group – those that really stand out to me are #1, #2, #5, #9 – although they are very different. #1 works with color and light very strongly (as does #2) but is the only one of its kind in the set – the purposeful juxtaposition created by the repeated and flipped images forming a diptych, seemingly placed on a lightbox or illuminated surface of some sort. This image actually leads nicely into #2 due to the color and light relationships, but #2 has a much more intimate, personal feel due to the material and the inference of a domestic space. I could see #5 working with #2 and possibly even #9 – these images share a common formal language in terms of composition, color and light, but #9 reads as a fabricated, rather than happened upon scene (it doesn't matter if a scene is or is not constructed or found, but it matters how it appears to the viewer in relation to a group of images). I think #9 is really fantastic in its playful and poetic nature, and it feels a bit like street photography, which conjures a certain sensibility as well.

#6 and #10 are also strong images, but for different reasons, and I'm not sure I'm relating these as much to your project. These are much more atmospheric and ambiguous, using shallow depth of field to evoke mystery, rather than detailing specific objects or spaces. #11 is strong as an image, but really doesn’t relate to your project for me at all (although, I could possibly see it with #1 – but that may be a different project).

The images that seem to relate most closely to your project as stated are #3, #4, #5, #7, #12, #13, #14, #16, #18, #19 and maybe #8 and #17. Aside from #12, #13 and #16, the others feel a bit overly purposeful, or maybe a bit too obvious. There is more subtlety in #12, #13 and #16 and I think it would be worthwhile to pay a bit of attention to those. #17 I enjoy as well, I'm just not exactly sure where to place it at this point.

On an aside, you also linked to your Flickr page with images of the process itself. I found the first image on that page to be remarkable and in fact, probably the most in keeping with your project. In this image, so many things come together – the classical, formal aesthetic (rich blues, golds and reds in a softly lit space), the inference of the photographer's presence (hand held out with gold nail polish punctuating the scene), the significance of the imagery being held and the out of focus/obstructed figure in the background who seems to be going through boxes of things. This entire situation as depicted makes me think of so many of the things you mention in your project statement. I would love to see more that do this!

Very sorry for my long response, there is just so much to think about with your project and the images you have created thus far. You have a strong start and are asking yourself good questions – this kind of project will take time and go through many iterations. I look forward to seeing your next edit and/or group of images!

- Dawn

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Comments from Matt Johnston:

OK, wow, /\ what Dawn said /\

This is a really interesting set of ideas, and ideas that will strike a cord with a large audience. There is a real interest in the objects we shape, and those that shape us at the moment which is why I am particularly interested in your inclusion of electronic equipment, something many would exclude for its move away from the tactile.

My advice for now would be to temporarily put aside your thoughts regarding outlet or platform and instead focus on what you want to say or comment on. It is not impossible to talk of two or three things at one time but truly you are more likely to speak to your audience if you focus on one primary theme. Some questions to ask yourself…

What is more important - the objects or their location?

Is it important that you are working with women?

Is it important your subjects are creative?

How important is your role in the photographic conversation?

And some things to look at and read as starters…

Handmade nation, the rise of DIY

On Longing by Susan Stewart

Michael Spijkers

Steve Pyke

Studio Kapsede by Henrik Duncker

While Steve's images are very different from yours, you can see the power of the removal from situation - the soles of shoes against white background become almost forensic and our mind can begin to wonder and wander about the scars and scuffs on the shoes. Just another way to think about the still life.

Currently the more traditional still life images you have in the first third of the portfolio are a little cluttered, they reference you as the photographer as the objects always push the edge of your frame. It might seem a small thing but it brings focus back to you and your image-making where I feel it should be on these objects, your subject's selection - you should almost be invisible? I appreciate your talk of process but not completely sure what this adds to the work.

This is a lovely concept Margarita, one that just needs a little more working through.

Best,
Matt

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Comments from Kevin Thrasher:

Tom included a link to a flickr page with this image.

I keep returning to the image from the link above, and want to see more like it. The color palette is wonderful and the photo, with an actual person behind it makes me start creating narrative. To echo Dawn's sentiments, the image on Flickr is very good. I would like to see more work you're making during the process. I think it's too early to talk about presentation, without being able to see text or video.

Technology shows up so often, images #1, 4, 7, 13, 16, 19. This could be an interesting aspect of the work. Images that stand out for me: #1, 5, 9, 11, 12, 17, 18, 19 - these images are the most varied and visually look like they came from different authors. I think time is relevant to consider for this project. Photographing the objects of my room 10 years ago would present a different person from who I am now. These objects's meaning will change over time, why is this moment and the objects important? Do you have them explain why they chose the objects they photograph?

Some responses for why images didn't work for me:

#2 this image of an interesting piece of clothing, hints at specificity and the lighting is attractive, but it doesn't culminate in a larger meaning for me.

#6 possibly if the shadows were opened more, greater detail would be revealed, I'm interested in this image, but it falls short because of the exposure.

#10 the image is too abstracted.

#14 the HDR is overdone.

#15 is so different from all of the other photos, that it stands out too much.

- Kevin

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Hola Margarita,

Qué buenos comentarios de tus mentores. Espero que los aproveches.

En general estoy de acuerdo con cada punto que mencionaron.

En particular, me quisiera detener sobre dos cosas: creo que es importante que, aunque pensar en la presentación y soporte del trabajo es una parte fundamental del proceso (que incluso, como te mencionaba uno de los mentores puede cambiar en diferentes espacios y situaciones y nutrir el contenido de la serie) es más importante primero pulir bien el trabajo. Una vez que sientas que hayas logrado esto, el formato expositivo o de presentación tendrá mucho que ver con la edición final. Insisto en que es muy importante tomar en cuenta el soporte del proyecto final pero a su debido momento. De hecho creo que muchas veces los fotógrafos dejamos esa parte completamente relegada a cuestiones de espacio o presupuesto (que son completamente entendibles en la realidad de nuestros recursos) y nos acostumbramos a resolverlo de la manera más sencilla y tradicional (como por ejemplo sería imprimir y montar en una secuencia lineal) cuando esta parte del proceso del trabajo puede aportar, enriquecer y dar una profundidad diferente a la obra.

La otra cuestión que quería mencionar es con respecto a las diferentes estéticas de las imágenes en la serie, algo que también resaltaron los demás tutores. Entiendo la intención detrás de la variedad de miradas (siendo esta serie un proceso colaborativo con otras personas) pero creo que una forma de "resolver" estas variaciones que pueden parecer disonantes en un primer momento es hacerlas más evidentes, es decir, resaltarlas y darles sentido dentro de la edición para que quede claro que es parte de la intención y no algo "descuidado" o "sin sentido". Como un posible ejemplo se me ocurre que puedes intercalar texto entre algunas de ellas (incluso con diferentes tipografías) para que el texto acompañe la secuencia y colabore en la "presentación" de cada imagen como una mirada distinta. Por supuesto, no tienes que hacerlo y sólo tómalo como una sugerencia que puede detonar otra idea o solución en ti.

Te deseo todo el éxito!

Seguimos en contacto,
Mariela