Photographers / Mundos Creados

Mundos Creados I

Victor Vazquez

Victor Vazquez

NO TITLE

About fifteen years ago various Central American artists were engaged in thoroughgoing investigations into the origin of modern society. In their visual analyses the concentrated on the Central American cultural past, African rites and Christian faith. From these historical backdrops Víctor Vázquez creates new and contemporary work. In his photographs and montages the primitive, mythological and religious symbols come together again. Vázquez mixes traditional codes with modern and personal visions into dark and mystic visions in which life, death, sacrifice and resurrection are central.

Victor Vazquez >>

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    About fifteen years ago various Central American artists were engaged in thoroughgoing investigations into the origin of modern society. In their visual analyses the concentrated on the Central American cultural past, African rites and Christian faith. From these historical backdrops Víctor Vázquez creates new and contemporary work. In his photographs and montages the primitive, mythological and religious symbols come together again. Vázquez mixes traditional codes with modern and personal visions into dark and mystic visions in which life, death, sacrifice and resurrection are central.

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  • NO TITLE

Jorge Albán

Jorge Albán

THE IMPOSSIBLE MONOLOGUES

It is often but a narrow line between fact and fiction. Jorge Albán walks this thin dividing line when he combines intimate images of a domestic nature with apparently disconnected statements. The texts do not elucidate the photographs. Rather, the 'impossible monologues' reinforce the disorienting effect of Albán's close-ups of everyday acts. Albán chiefly seems to allude to role patterns in family life. But the peculiar combinations of words and images call up all sorts of new associations, consciously and subconsciously.

Jorge Albán >>

  • THE IMPOSSIBLE MONOLOGUES

    It is often but a narrow line between fact and fiction. Jorge Albán walks this thin dividing line when he combines intimate images of a domestic nature with apparently disconnected statements. The texts do not elucidate the photographs. Rather, the 'impossible monologues' reinforce the disorienting effect of Albán's close-ups of everyday acts.

    Albán chiefly seems to allude to role patterns in family life. But the peculiar combinations of words and images call up all sorts of new associations, consciously and subconsciously.

  • THE IMPOSSIBLE MONOLOGUES

  • THE IMPOSSIBLE MONOLOGUES

  • THE IMPOSSIBLE MONOLOGUES

  • THE IMPOSSIBLE MONOLOGUES

Juan Carlos Alom

Juan Carlos Alom

EL LIBRO OSCURO

EL LIBRO OSCURO (The Dark Book) is a visual investigation into the symbolism in Cuban culture. With installations of everyday materials, Alom gives new content to old understandings that arise from Cuban myths, aesthetics and social norms and values. Alom does not so much tell a story with his photographs, as create these poetic images to make a personal gesture.

Juan Carlos Alom >>

  • EL LIBRO OSCURO

    EL LIBRO OSCURO (The Dark Book) is a visual investigation into the symbolism in Cuban culture. With installations of everyday materials, Alom gives new content to old understandings that arise from Cuban myths, aesthetics and social norms and values. Alom does not so much tell a story with his photographs, as create these poetic images to make a personal gesture.

  • EL LIBRO OSCURO

  • EL LIBRO OSCURO

  • EL LIBRO OSCURO

Rebeca Alpízar

Rebeca Alpízar

FRENTE AL ESPEJO

Seeing yourself in a mirror can be an encounter, or even a confrontation. The mirror reflects everything down to the smallest detail, beautifies nothing, and shows us our true face. With FRENTE AL ESPEJO (In front of the mirror) Rebeca Alpízar investigates what are various facets of herself and at the same time but one. Her appearance changes with her clothing, and she can change character. But that indicates nothing about her real 'I'.

Rebeca Alpízar >>

  • FRENTE AL ESPEJO

    Seeing yourself in a mirror can be an encounter, or even a confrontation. The mirror reflects everything down to the smallest detail, beautifies nothing, and shows us our true face.

    With FRENTE AL ESPEJO (In front of the mirror) Rebeca Alpízar investigates what are various facets of herself and at the same time but one. Her appearance changes with her clothing, and she can change character. But that indicates nothing about her real 'I'.

  • FRENTE AL ESPEJO

  • FRENTE AL ESPEJO

  • FRENTE AL ESPEJO

  • FRENTE AL ESPEJO

Alexander Apóstol

Alexander Apóstol

RESIDENTE PULIDO

Alexander Apóstol is part of a younger generation that does not shun self-critique of the Latin American identity and prevailing cliches. For instance, in the photo series PASATIEMPOS (Pastime, 1998) he exposes the archetypical 'Latin macho' image, as that is dictated by men's magazines. Apóstol's latest project, RESIDENTE PULIDO (Polished Flats, 2002) is a follow-up on this theme. The rationalistic/modernist architecture dates from the 1950s, when the economies of Venezuela and other Latin American countries grew explosively, fueled by oil production. With digital techniques Apóstol has retouched out all the entrances, and covered their outside walls with glass or porcelain. His intervention turns the fifty-year-old flats into impenetrable monuments. The massive monoliths not only remind one of better, now bygone times; for Apóstol the buildings, with their closed but fragile exterior are also a metaphor for the arrogant, masculine male.

Alexander Apóstol >>

  • RESIDENTE PULIDO

    Alexander Apóstol is part of a younger generation that does not shun self-critique of the Latin American identity and prevailing cliches. For instance, in the photo series PASATIEMPOS (Pastime, 1998) he exposes the archetypical 'Latin macho' image, as that is dictated by men's magazines. Apóstol's latest project, RESIDENTE PULIDO (Polished Flats, 2002) is a follow-up on this theme. The rationalistic/modernist architecture dates from the 1950s, when the economies of Venezuela and other Latin American countries grew explosively, fueled by oil production. With digital techniques Apóstol has retouched out all the entrances, and covered their outside walls with glass or porcelain. His intervention turns the fifty-year-old flats into impenetrable monuments. The massive monoliths not only remind one of better, now bygone times; for Apóstol the buildings, with their closed but fragile exterior are also a metaphor for the arrogant, masculine male.

  • RESIDENTE PULIDO

  • RESIDENTE PULIDO

  • RESIDENTE PULIDO

  • RESIDENTE PULIDO

Gustavo Araujo

Gustavo Araujo

NO TITLE

What Gustavo Araujo particularly remembers from his childhood are the family weekends at the sea. What has stuck with him the most are the objects that seemed to move of themselves. Windmills, flags and waves still evoke a feeling of nostalgia for him. He combines photographic sequences of these objects with images from his personal environment. Movement, points of view and the passage of time play a large role in these billboard-like surveys. These are cinematic aspects, but Araujo offers us something that film can not: he shows the images simultaneously, so that viewers can reconstruct their own succession and story line from them.

Gustavo Araujo >>

  • NO TITLE

    What Gustavo Araujo particularly remembers from his childhood are the family weekends at the sea. What has stuck with him the most are the objects that seemed to move of themselves. Windmills, flags and waves still evoke a feeling of nostalgia for him. He combines photographic sequences of these objects with images from his personal environment. Movement, points of view and the passage of time play a large role in these billboard-like surveys. These are cinematic aspects, but Araujo offers us something that film can not: he shows the images simultaneously, so that viewers can reconstruct their own succession and story line from them.

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  • NO TITLE

  • NO TITLE

Albert V. Chong

Albert V. Chong

NO TITLE

Albert V. Chong belongs to the group of contemporary photographers who no longer take photos, but make photos. Most of his work is constructed and assembled. In it he combines old family photos with objects such as shells, skulls and fruit. Chong, a Jamaican, has African, West Indian and Asian forbears, and in his work he investigates both his multicultural background and his transcultural identity. In these 'dialogues with his ancestors' he links various family members with one another. Chong in this way constructs a counterpart to an oral family history, passed down from generation to generation, transmitting norms and values, myths and anecdotes.

Albert V. Chong >>

  • NO TITLE

    Albert V. Chong belongs to the group of contemporary photographers who no longer take photos, but make photos. Most of his work is constructed and assembled. In it he combines old family photos with objects such as shells, skulls and fruit.

    Chong, a Jamaican, has African, West Indian and Asian forbears, and in his work he investigates both his multicultural background and his transcultural identity. In these 'dialogues with his ancestors' he links various family members with one another. Chong in this way constructs a counterpart to an oral family history, passed down from generation to generation, transmitting norms and values, myths and anecdotes.

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Nelson Garrido

Nelson Garrido

NO TITLE

Nelson Garrido practices both documentary and art photography. He places expressions of popular culture at the centre of both genres. In the series shown here he juxtaposes his own Venezuelan, Roman Catholic identity with the American consumer society. In this way Garrido creates a new iconographic language around themes such as violence, religion, sex and trends, through which he poses questions about the socially enforced concepts, feelings and religious experience in Venezuela.

Nelson Garrido >>

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    Nelson Garrido practices both documentary and art photography. He places expressions of popular culture at the centre of both genres. In the series shown here he juxtaposes his own Venezuelan, Roman Catholic identity with the American consumer society. In this way Garrido creates a new iconographic language around themes such as violence, religion, sex and trends, through which he poses questions about the socially enforced concepts, feelings and religious experience in Venezuela.

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  • NO TITLE

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Ricardo Gómez Pérez

Ricardo Gómez Pérez

FIRST STEPS

Initially Ricardo Gómez Pérez had to conquer his anxieties about his approaching fatherhood. But when his son was born in 1992 and a pair of twins followed in 1993, he was sold. He had to photograph them. Day after day he recorded how his three sons developed and slowly grew in the direction of taking their first steps. He continued until the boys became conscious of the camera and their attitudes and expressions were no longer natural. FIRST STEPS stands head and shoulders above the average family album. Gómez Pérez himself calls the very personal and nostalgic photo series 'a diary of candid moments, from a period that will never return again'.

Ricardo Gómez Pérez >>

  • FIRST STEPS

    Initially Ricardo Gómez Pérez had to conquer his anxieties about his approaching fatherhood. But when his son was born in 1992 and a pair of twins followed in 1993, he was sold. He had to photograph them. Day after day he recorded how his three sons developed and slowly grew in the direction of taking their first steps. He continued until the boys became conscious of the camera and their attitudes and expressions were no longer natural.

    FIRST STEPS stands head and shoulders above the average family album. Gómez Pérez himself calls the very personal and nostalgic photo series 'a diary of candid moments, from a period that will never return again'.

  • FIRST STEPS

  • FIRST STEPS

  • FIRST STEPS

  • FIRST STEPS

Luis González Palma

Luis González Palma

NO TITLE

During the past decade Luis González Palma shot to fame as the most important photographer in Latin America. Around 1985 the Guatemalan, who had graduated as an architect and filmmaker, made his first photographs of dancers and actors with a borrowed camera. The theatrical aspects of these staged portraits were the basis for his later autonomous work. González Palma stretched the traditional boundaries of the medium by incorporating his painted and scratched photographs in small installations. Using this new visual language he investigated the tragic heritage of colonialism and the subjugation of the native cultures of Guatemala. His serene, engaged and politically charged art photography grew in power from the time that he began to work in larger formats. A first, extensive solo exhibition at the Museum of Contemporary Hispanic Art in New York in 1989 was ultimately the beginning of an impressive list of exhibitions in North America and Europe.

Luis González Palma >>

  • NO TITLE

    During the past decade Luis González Palma shot to fame as the most important photographer in Latin America. Around 1985 the Guatemalan, who had graduated as an architect and filmmaker, made his first photographs of dancers and actors with a borrowed camera. The theatrical aspects of these staged portraits were the basis for his later autonomous work.

    González Palma stretched the traditional boundaries of the medium by incorporating his painted and scratched photographs in small installations. Using this new visual language he investigated the tragic heritage of colonialism and the subjugation of the native cultures of Guatemala. His serene, engaged and politically charged art photography grew in power from the time that he began to work in larger formats. A first, extensive solo exhibition at the Museum of Contemporary Hispanic Art in New York in 1989 was ultimately the beginning of an impressive list of exhibitions in North America and Europe.

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  • NO TITLE

  • NO TITLE

  • NO TITLE

Lissie Habié

Lissie Habié

PHOTOGRAMS / PHOTOGRAPHIC TAPESTRIES

In the series 'Photograms' (2001) and 'Photographic Tapestries' (2001) Lissie Habié (Guatemala, b. 1954) experiments with a combination of early photographic techniques. With them she produces semi-abstract one-off works, freeing her photographs from aspects that are often connected with the medium such as reproducibility, rendering of reality and the freezing of time. Habié wishes to integrate art and science with her accumulation of essentially manual techniques. Concepts such as chaos, complexity and movement, and their opposites order, simplicity and stability, are central to her work.

Lissie Habié >>

  • PHOTOGRAMS / PHOTOGRAPHIC TAPESTRIES

    In the series 'Photograms' (2001) and 'Photographic Tapestries' (2001) Lissie Habié (Guatemala, b. 1954) experiments with a combination of early photographic techniques. With them she produces semi-abstract one-off works, freeing her photographs from aspects that are often connected with the medium such as reproducibility, rendering of reality and the freezing of time.

    Habié wishes to integrate art and science with her accumulation of essentially manual techniques. Concepts such as chaos, complexity and movement, and their opposites order, simplicity and stability, are central to her work.

  • PHOTOGRAMS / PHOTOGRAPHIC TAPESTRIES

  • PHOTOGRAMS / PHOTOGRAPHIC TAPESTRIES

  • PHOTOGRAMS / PHOTOGRAPHIC TAPESTRIES

  • PHOTOGRAMS / PHOTOGRAPHIC TAPESTRIES

Muriel Hasbun

Muriel Hasbun

SANTOS Y SOMBRAS

With forbears of Christian-Palestinian and French-Polish-Jewish background, Muriel Hasbun (El Salvador, b. 1961) has a family with an eventful history. At home the dramatic past of the Holocaust, flight and hiding was hardly spoken of; during the civil war that raged in El Salvador in the 1980s Hasbun could, however, imagine the history and feelings of displacement of her parents and grandparents. Since 1990 Hasbun has devoted herself entirely to a visual investigation of her family history and her own identity. The on-going photo project 'Santos y Sombras' (Saints and Shadows) is a photographic diary in which she makes the invisible visible. Hasbun catches the concealed past in poetic images with multiple layers which are open for personal associations and new narratives.

Muriel Hasbun >>

  • SANTOS Y SOMBRAS

    With forbears of Christian-Palestinian and French-Polish-Jewish background, Muriel Hasbun (El Salvador, b. 1961) has a family with an eventful history. At home the dramatic past of the Holocaust, flight and hiding was hardly spoken of; during the civil war that raged in El Salvador in the 1980s Hasbun could, however, imagine the history and feelings of displacement of her parents and grandparents.

    Since 1990 Hasbun has devoted herself entirely to a visual investigation of her family history and her own identity. The on-going photo project 'Santos y Sombras' (Saints and Shadows) is a photographic diary in which she makes the invisible visible. Hasbun catches the concealed past in poetic images with multiple layers which are open for personal associations and new narratives.

  • SANTOS Y SOMBRAS

  • SANTOS Y SOMBRAS

  • SANTOS Y SOMBRAS

  • SANTOS Y SOMBRAS

Daniel Hernández-Salazar

Daniel Hernández-Salazar

EROS + THANATOS

'Eros+Thanatos' is a recent project with expressive, life-size images commemorating the civil war that held Guatemala in its grip for 35 years. With his multiple exposure prints, collages and photographs Daniel Hernández-Salazar (Guatemela, b. 1956) honours the victims, witnesses to his abhorrence of violence and points to the dangers of evil political forces. In these dramatic images the photographer weaves together his personal emotions and political statements.

Daniel Hernández-Salazar >>

  • EROS + THANATOS

    'Eros+Thanatos' is a recent project with expressive, life-size images commemorating the civil war that held Guatemala in its grip for 35 years. With his multiple exposure prints, collages and photographs Daniel Hernández-Salazar (Guatemela, b. 1956) honours the victims, witnesses to his abhorrence of violence and points to the dangers of evil political forces. In these dramatic images the photographer weaves together his personal emotions and political statements.

  • EROS + THANATOS

  • EROS + THANATOS

  • EROS + THANATOS

  • EROS + THANATOS

Liudmila and Nelson

Liudmila and Nelson

ABSOLUT REVOLUTION

'Absolute Revolution' is an homage to the revolutionary and innovative ideas of José Martí, Cuba's national author and true apostle of the revolution. The photographs show a monument in Revolution Plaza, on which all the important public and governmental buildings lie. In 1959 the name of this square was changed from Plaza Cívica José Martí to Plaza de la Revolución José Martí. Through image manipulation Liudmila Velasco (Cuba, b. 1969) and Nelson de Arellano (Cuba, b. 1969) create various environments around this beacon of the revolution. In doing so they emphasize the strong symbolism of this image-defining monument.

Liudmila and Nelson >>

  • ABSOLUT REVOLUTION

    'Absolute Revolution' is an homage to the revolutionary and innovative ideas of José Martí, Cuba's national author and true apostle of the revolution. The photographs show a monument in Revolution Plaza, on which all the important public and governmental buildings lie. In 1959 the name of this square was changed from Plaza Cívica José Martí to Plaza de la Revolución José Martí.

    Through image manipulation Liudmila Velasco (Cuba, b. 1969) and Nelson de Arellano (Cuba, b. 1969) create various environments around this beacon of the revolution. In doing so they emphasize the strong symbolism of this image-defining monument.

  • ABSOLUT REVOLUTION

  • ABSOLUT REVOLUTION

  • ABSOLUT REVOLUTION

  • ABSOLUT REVOLUTION

Carlos Motta

Carlos Motta

PESCA MILAGROSA

'Pesca Milagrosa' (The miraculous catch of fishes) is what Colombian guerillas call their suddenly erected blockades on motorways. There they choose which of the people stopped will be kidnapped. Carlos Motta (Colombia, b. 1978) took this inhumane roulette game as his point of departure for the collage shown here. The fading photographs are digitally manipulated portraits of disappeared, missing or kidnapped persons from both South and North America. In his work the young and very talented photo artist goes beyond the usual news photos of war, mass executions and victims of violence that we have become accustomed to and all too easily ignore. With this collage of 'burned heads' will give a face that sticks in the memory to 'the poor, the bad and the horrible'. With its many abstract colour fields Pesca Milagrosa (2002) is a enigmatic collage that continues to call up questions.

Carlos Motta >>

  • PESCA MILAGROSA

    'Pesca Milagrosa' (The miraculous catch of fishes) is what Colombian guerillas call their suddenly erected blockades on motorways. There they choose which of the people stopped will be kidnapped. Carlos Motta (Colombia, b. 1978) took this inhumane roulette game as his point of departure for the collage shown here. The fading photographs are digitally manipulated portraits of disappeared, missing or kidnapped persons from both South and North America.

    In his work the young and very talented photo artist goes beyond the usual news photos of war, mass executions and victims of violence that we have become accustomed to and all too easily ignore. With this collage of 'burned heads' will give a face that sticks in the memory to 'the poor, the bad and the horrible'. With its many abstract colour fields Pesca Milagrosa (2002) is a enigmatic collage that continues to call up questions.

  • PESCA MILAGROSA

  • PESCA MILAGROSA

  • PESCA MILAGROSA

  • PESCA MILAGROSA

Roxana Nagygellér

Roxana Nagygellér

PORTRAITS OF LUCIA

What girl has not played with make-up? Stuffed a balloon under her dress to play at being pregnant? Played mother? Or dressed up in her mother's or sister's clothing to parade around pertly? The photographs from the series 'Portraits of Lucía' (2001) are disturbing. They show the seven-year-old daughter of Roxana Nagygellér (Costa Rica, b. 1963) portraying various female stereotypes. Lucía here personifies something that concerns Nagygellér, namely that the role patterns and limitations of the woman in Latin American society are already introduced in the childhood and education of young girls - and that this is an unconscious process in which we are all accomplices.

Roxana Nagygellér >>

  • PORTRAITS OF LUCIA

    What girl has not played with make-up? Stuffed a balloon under her dress to play at being pregnant? Played mother? Or dressed up in her mother's or sister's clothing to parade around pertly?

    The photographs from the series 'Portraits of Lucía' (2001) are disturbing. They show the seven-year-old daughter of Roxana Nagygellér (Costa Rica, b. 1963) portraying various female stereotypes. Lucía here personifies something that concerns Nagygellér, namely that the role patterns and limitations of the woman in Latin American society are already introduced in the childhood and education of young girls - and that this is an unconscious process in which we are all accomplices.

  • PORTRAITS OF LUCIA

  • PORTRAITS OF LUCIA

  • PORTRAITS OF LUCIA

  • PORTRAITS OF LUCIA

Luis Paredes

Luis Paredes

PAISAJES ESENCIALES

Emptiness, tranquillity, quietness and chilliness; austere and lonely. These are associations that you would not immediately expect from the work of a photographer from the lively, colourful and eruptive Central America. But they are precisely what Luis Parades (b. 1966) seeks. In the early 1990s he processed his memories of the internal conflicts in the land of his birth in photo series such as Revelations and Mutations: formal and expressive work in which he scratched negatives, tore paper and was the first photographer in El Salvador to publish explicit nude photographs. When he contemplated the mangled landscape where land mines left behind from the conflict were detonated, he photographed the remains of half-burned - but also still partly fresh - flowers for Burnt Garden. Since then Paredes has settled in Denmark, where for a long period leukaemia prevented him from working. On the Baltic Sea he ultimately found recovery from his illness and inspiration for his Paisajes Esenciales (Essential landscapes). Paredes photographed the same location on different days and under various circumstances. All drama is absent from the montages constructed from these shots. What remains is an empty landscape, the passage of time and the ever=present horizon in a sea of silence. These poetic photographs announce a new phase in Paredes oeuvre.

Luis Paredes >>

  • PAISAJES ESENCIALES

    Emptiness, tranquillity, quietness and chilliness; austere and lonely. These are associations that you would not immediately expect from the work of a photographer from the lively, colourful and eruptive Central America. But they are precisely what Luis Parades (b. 1966) seeks.

    In the early 1990s he processed his memories of the internal conflicts in the land of his birth in photo series such as Revelations and Mutations: formal and expressive work in which he scratched negatives, tore paper and was the first photographer in El Salvador to publish explicit nude photographs. When he contemplated the mangled landscape where land mines left behind from the conflict were detonated, he photographed the remains of half-burned - but also still partly fresh - flowers for Burnt Garden. Since then Paredes has settled in Denmark, where for a long period leukaemia prevented him from working. On the Baltic Sea he ultimately found recovery from his illness and inspiration for his Paisajes Esenciales (Essential landscapes). Paredes photographed the same location on different days and under various circumstances. All drama is absent from the montages constructed from these shots. What remains is an empty landscape, the passage of time and the ever=present horizon in a sea of silence. These poetic photographs announce a new phase in Paredes oeuvre.

  • PAISAJES ESENCIALES

  • PAISAJES ESENCIALES

  • PAISAJES ESENCIALES

  • PAISAJES ESENCIALES

Marta María Pérez Bravo

Marta María Pérez Bravo

NO TITLE

In her intimate and personal photographs Marta Pérez Bravo (Cuba, b. 1959) transforms herself into a living altar. Together with symbolic attributes, in various poses and fragments she illustrates personal and mystic rituals that arise out of the Afro-Cuban culture, religion and history. The titles of her works, usually names of gods and goddesses, are not always explanatory, but serve as poetic characterisations of the black and white images which balance on the border of reality and mythology, mystery and beauty.

Marta María Pérez Bravo >>

  • NO TITLE

    In her intimate and personal photographs Marta Pérez Bravo (Cuba, b. 1959) transforms herself into a living altar. Together with symbolic attributes, in various poses and fragments she illustrates personal and mystic rituals that arise out of the Afro-Cuban culture, religion and history. The titles of her works, usually names of gods and goddesses, are not always explanatory, but serve as poetic characterisations of the black and white images which balance on the border of reality and mythology, mystery and beauty.

  • NO TITLE

  • NO TITLE

  • NO TITLE

  • NO TITLE

Karla Solano

Karla Solano

GEOGRAPHIES + MAKE-UPS

In her photography Karla Solano (Costa Rica, b. 1971) limits herself to her own body. For a long time she made x-ray photographs in order to literally 'get under her skin' and analyse herself. Later work, when her body was changed after giving birth, resulted in an overdose of radiation and multiple self-portraits in dramatic images like 'Under My Skin' - a fragmented female figure whose breasts and uterus are separated from the head in a bizarre manner. Solano continues her self-investigation in the series 'Geographies' and 'Make-ups' with intimate and sensual close-ups. Solano belongs to a younger generation of artists in Costa Rica who with their autonomous work want to break with the usual, more traditional photography. In light of this, it is very extraordinary that Solano 'strips herself bare' in a society where nudity is not considered natural.

Karla Solano >>

  • GEOGRAPHIES + MAKE-UPS

    In her photography Karla Solano (Costa Rica, b. 1971) limits herself to her own body. For a long time she made x-ray photographs in order to literally 'get under her skin' and analyse herself. Later work, when her body was changed after giving birth, resulted in an overdose of radiation and multiple self-portraits in dramatic images like 'Under My Skin' - a fragmented female figure whose breasts and uterus are separated from the head in a bizarre manner. Solano continues her self-investigation in the series 'Geographies' and 'Make-ups' with intimate and sensual close-ups.

    Solano belongs to a younger generation of artists in Costa Rica who with their autonomous work want to break with the usual, more traditional photography. In light of this, it is very extraordinary that Solano 'strips herself bare' in a society where nudity is not considered natural.

  • GEOGRAPHIES + MAKE-UPS

  • GEOGRAPHIES + MAKE-UPS

  • GEOGRAPHIES + MAKE-UPS

  • GEOGRAPHIES + MAKE-UPS

Cinthya Soto

Cinthya Soto

ROOM SET

Cinthya Soto (Costa Rica, b. 1969) studied visual arts in Costa Rica, specialising in photography. In addition she is greatly interested in architecture, and in recent years received training in video and film in Switzerland, where she has lived since 1999. Various aspects of this wide artistic background come together in Soto's present work. Her own living environment is central to it. The interiors of the rooms where she comes and goes daily are recorded in multiple images, as if she is exploring the spaces for the first time with a film camera. Soto assembles these image fragments in clusters. Overlaps among the photographs and various points of view create confusion about the precise relationships in these spaces. At the same time the grid in which the images are presented provides a new order in Soto's personal explorations.

Cinthya Soto >>

  • ROOM SET

    Cinthya Soto (Costa Rica, b. 1969) studied visual arts in Costa Rica, specialising in photography. In addition she is greatly interested in architecture, and in recent years received training in video and film in Switzerland, where she has lived since 1999. Various aspects of this wide artistic background come together in Soto's present work. Her own living environment is central to it. The interiors of the rooms where she comes and goes daily are recorded in multiple images, as if she is exploring the spaces for the first time with a film camera. Soto assembles these image fragments in clusters. Overlaps among the photographs and various points of view create confusion about the precise relationships in these spaces. At the same time the grid in which the images are presented provides a new order in Soto's personal explorations.

Irene Torrebiarte

Irene Torrebiarte

LA TAREA + VIDA TUS ESPINAS

Central to the series 'Vida Tus Espinas' (Thorns of Life) are human relations and their effects on the personality. Irene Torrebiarte (Guatemala, b. 1970) shows in symbolic ways how people subconsciously continue to protect themselves when they begin a new relationship. The series 'La Tarea' consists of leaves from a school notebook. The petals of flowers are counted off onto the text 'He loves me, he loves me not', while the heart of the flower changes into the barrel of a pistol.

Irene Torrebiarte >>

  • LA TAREA + VIDA TUS ESPINAS

    Central to the series 'Vida Tus Espinas' (Thorns of Life) are human relations and their effects on the personality. Irene Torrebiarte (Guatemala, b. 1970) shows in symbolic ways how people subconsciously continue to protect themselves when they begin a new relationship.

    The series 'La Tarea' consists of leaves from a school notebook. The petals of flowers are counted off onto the text 'He loves me, he loves me not', while the heart of the flower changes into the barrel of a pistol.

  • LA TAREA + VIDA TUS ESPINAS

  • LA TAREA + VIDA TUS ESPINAS

  • LA TAREA + VIDA TUS ESPINAS

  • LA TAREA + VIDA TUS ESPINAS

Patricia Villalobos

Patricia Villalobos

VIRO

Patricia Villalobos Echeverría (USA/Nicaragua) was born in Tennessee, in the United States, in 1965 to Salvadoran parents, and grew up in Nicaragua. Not surprisingly her work concerns identity and transculturalism in an era of increasing globalisation. In her photographs, videos and installations Villalobos sets this theme against the background of personal texts, images, and the history of Nicaragua, with its countless conflicts and natural disasters. Her subject in 'Viro' (2002) is the systematic disappearance of individuals, for example through torture, as happened under the dictatorial regimes of Central and South America during the final decades of the last century. In this way Villalobos gives a voice to the countless victims who were dumped as worthless bodies in those days.

Patricia Villalobos >>

  • VIRO

    Patricia Villalobos Echeverría (USA/Nicaragua) was born in Tennessee, in the United States, in 1965 to Salvadoran parents, and grew up in Nicaragua. Not surprisingly her work concerns identity and transculturalism in an era of increasing globalisation. In her photographs, videos and installations Villalobos sets this theme against the background of personal texts, images, and the history of Nicaragua, with its countless conflicts and natural disasters.

    Her subject in 'Viro' (2002) is the systematic disappearance of individuals, for example through torture, as happened under the dictatorial regimes of Central and South America during the final decades of the last century. In this way Villalobos gives a voice to the countless victims who were dumped as worthless bodies in those days.

  • VIRO

  • VIRO

  • VIRO

  • VIRO

Mundos Creados II

Claudia Andujar

Claudia Andujar

YANOMAMI - THE HOUSE, THE FOREST, THE INVISIBLE

Claudia Andujar gives us a glimpse of the rich culture of the Yanomami Indians of northern Brazil. For decades this Indian tribe has been prey to disasters. In the 1970s the tribe had to make way for a motorway that was being built across the Amazon region. Ten years later 40,000 illegal gold hunters invaded their territory. The labourers and gold seekers brought with them illnesses unknown to the Yanomami, adding disastrous epidemics to their troubles. Andujar devoted herself to the creation of a Yanomami Park, which finally was awarded by the government to the 11,000 remaining Indians in 1992. The Swiss-born photojournalist Claudia Andujar emigrated to Brazil in 1956. In her very first encounter with the Yanomami she became fascinated with their lifestyle and decided to devote a probing photo essay to their complex spiritual and magical world.

Claudia Andujar >>

  • YANOMAMI - THE HOUSE, THE FOREST, THE INVISIBLE

    Claudia Andujar gives us a glimpse of the rich culture of the Yanomami Indians of northern Brazil. For decades this Indian tribe has been prey to disasters. In the 1970s the tribe had to make way for a motorway that was being built across the Amazon region. Ten years later 40,000 illegal gold hunters invaded their territory. The labourers and gold seekers brought with them illnesses unknown to the Yanomami, adding disastrous epidemics to their troubles. Andujar devoted herself to the creation of a Yanomami Park, which finally was awarded by the government to the 11,000 remaining Indians in 1992.

    The Swiss-born photojournalist Claudia Andujar emigrated to Brazil in 1956. In her very first encounter with the Yanomami she became fascinated with their lifestyle and decided to devote a probing photo essay to their complex spiritual and magical world.

  • YANOMAMI - THE HOUSE, THE FOREST, THE INVISIBLE

  • YANOMAMI - THE HOUSE, THE FOREST, THE INVISIBLE

  • YANOMAMI - THE HOUSE, THE FOREST, THE INVISIBLE

Diana Blok

Diana Blok

AY DIOS

Diana Blok was born in Montevideo, Uruguay, as the daughter of a Dutch diplomat and an Argentinean mother, and grew up in Colombia, Guatemala and Mexico. After studying sociology in Mexico City she settled permanently in The Netherlands in 1974, where she devoted herself to photography. Over the course of the years Blok has shown frequently in The Netherlands, North and South America and Japan. Presently she also makes films and video installations, works together with diverse artists, and regularly conducts masterclasses at various art academies in The Netherlands and other countries. The photo series AY DIOS arose from a commission from the Mondriaan Foundation to photograph for four months on Curaçao, Aruba and Bonaire.

Diana Blok >>

  • AY DIOS

    Diana Blok was born in Montevideo, Uruguay, as the daughter of a Dutch diplomat and an Argentinean mother, and grew up in Colombia, Guatemala and Mexico. After studying sociology in Mexico City she settled permanently in The Netherlands in 1974, where she devoted herself to photography. Over the course of the years Blok has shown frequently in The Netherlands, North and South America and Japan. Presently she also makes films and video installations, works together with diverse artists, and regularly conducts masterclasses at various art academies in The Netherlands and other countries.

    The photo series AY DIOS arose from a commission from the Mondriaan Foundation to photograph for four months on Curaçao, Aruba and Bonaire.

  • AY DIOS

  • AY DIOS

  • AY DIOS

  • AY DIOS

Trinidad Carrillo

Trinidad Carrillo

MAESTRO PAPAGAYO

Since 1997 Trinidad Carrillo has been working on the series MAESTRO PAPAGAYO (Master parrot), a 'work in progress' in which she visualises her relation with persons and places in her immediate environment. Her intuitive manner of working transforms staged and everyday situations into powerful poetic images. In these photographs of great profundity and layers of mystic significance, fantasy and reality flow into one another.

Trinidad Carrillo >>

  • MAESTRO PAPAGAYO

    Since 1997 Trinidad Carrillo has been working on the series MAESTRO PAPAGAYO (Master parrot), a 'work in progress' in which she visualises her relation with persons and places in her immediate environment. Her intuitive manner of working transforms staged and everyday situations into powerful poetic images. In these photographs of great profundity and layers of mystic significance, fantasy and reality flow into one another.

  • MAESTRO PAPAGAYO

  • MAESTRO PAPAGAYO

  • MAESTRO PAPAGAYO

  • MAESTRO PAPAGAYO

Diego Cifuentes

Diego Cifuentes

LAS DELICIAS DEL INFERNO

Diego Cifuentes is the son of the most important Ecuadoran photographer, Hugo Cifuentes (also in this show). Diego appears to be following in the footsteps of his father, as the photography prizes he has received and the 1999 nomination as Latin American Leader for the New Millennium by Time Magazine testify. Nothing would give him greater pleasure than to be able to follow his father in photographing the world around him with an equally tender and friendly gaze. But he is more critical in character and his life is more painful and less rosy. This can be seen in his work: Diego Cifuentes's photographs are harder, more intense and more implicit. In this manner he reflects the world even as he experiences and sees it. In the recent LAS DELICIAS DEL INFERNO (Delights of Hell) that is a world full of lust and extreme isolation.

Diego Cifuentes >>

  • LAS DELICIAS DEL INFERNO

    Diego Cifuentes is the son of the most important Ecuadoran photographer, Hugo Cifuentes (also in this show). Diego appears to be following in the footsteps of his father, as the photography prizes he has received and the 1999 nomination as Latin American Leader for the New Millennium by Time Magazine testify. Nothing would give him greater pleasure than to be able to follow his father in photographing the world around him with an equally tender and friendly gaze. But he is more critical in character and his life is more painful and less rosy. This can be seen in his work: Diego Cifuentes's photographs are harder, more intense and more implicit. In this manner he reflects the world even as he experiences and sees it. In the recent LAS DELICIAS DEL INFERNO (Delights of Hell) that is a world full of lust and extreme isolation.

  • LAS DELICIAS DEL INFERNO

  • LAS DELICIAS DEL INFERNO

  • LAS DELICIAS DEL INFERNO

  • LAS DELICIAS DEL INFERNO

Hugo Cifuentes

Hugo Cifuentes

NO TITLE

One of the most famous photographers from Ecuador is Hugo Cifuentes. He is considered as the most important pioneer in contemporary photography in that country. In the 1960s he was the co-founder of VAN, a group of progressive artists who in their autonomous work broke with the prevailing art tradition. After studying painting and draughtsmanship, in the 1940s Cifuentes began to photograph. In 1949 he received his first prize for photographic composition. Many further distinctions followed this, including the Casa de las Américas Award in 1983. Gradually Hugo Cifuentes developed his own visual vocabulary, with humorous undertones. It was his manner of responding to the internal conflicts and other miseries that gripped Ecuador for many years. By seeing things from a different angle, Cifuentes added new layers to the often hard reality.

Hugo Cifuentes >>

  • NO TITLE

    One of the most famous photographers from Ecuador is Hugo Cifuentes. He is considered as the most important pioneer in contemporary photography in that country. In the 1960s he was the co-founder of VAN, a group of progressive artists who in their autonomous work broke with the prevailing art tradition. After studying painting and draughtsmanship, in the 1940s Cifuentes began to photograph. In 1949 he received his first prize for photographic composition. Many further distinctions followed this, including the Casa de las Américas Award in 1983.

    Gradually Hugo Cifuentes developed his own visual vocabulary, with humorous undertones. It was his manner of responding to the internal conflicts and other miseries that gripped Ecuador for many years. By seeing things from a different angle, Cifuentes added new layers to the often hard reality.

  • NO TITLE

  • NO TITLE

  • NO TITLE

  • NO TITLE

Christian Courrèges

Christian Courrèges

SEUL LE COUTEAU CONNAÎT LE SECRET AU COEUR DE L'IGNAME

Christian Courrèges made 100 portraits in Haiti. He followed the same procedure one hundred times: around noon, when the light is strongest, in the shade. One hundred times Courrèges tried to get inside the skin of the Haitians, behind the mask, close to their soul. They look back proudly or suspiciously, with curiosity or dismissively; whether with a frown or a smile, always very penetratingly and intense. Yet Courrèges did not succeed in penetrating to their core. However close up he photographed, the eyes did not let him through. At the most the pupils of the eyes reflect his own silhouette. That was the border that could not be crossed. Courrèges knew that would happen. As the Haitians say, and as the title of this photo series reports, 'only the knife knows the secret of the heart of the yam'.

Christian Courrèges >>

  • SEUL LE COUTEAU CONNAÎT LE SECRET AU COEUR DE L'IGNAME

    Christian Courrèges made 100 portraits in Haiti. He followed the same procedure one hundred times: around noon, when the light is strongest, in the shade. One hundred times Courrèges tried to get inside the skin of the Haitians, behind the mask, close to their soul. They look back proudly or suspiciously, with curiosity or dismissively; whether with a frown or a smile, always very penetratingly and intense. Yet Courrèges did not succeed in penetrating to their core. However close up he photographed, the eyes did not let him through. At the most the pupils of the eyes reflect his own silhouette. That was the border that could not be crossed.

    Courrèges knew that would happen. As the Haitians say, and as the title of this photo series reports, 'only the knife knows the secret of the heart of the yam'.

  • SEUL LE COUTEAU CONNAÎT LE SECRET AU COEUR DE L'IGNAME

  • SEUL LE COUTEAU CONNAÎT LE SECRET AU COEUR DE L'IGNAME

  • SEUL LE COUTEAU CONNAÎT LE SECRET AU COEUR DE L'IGNAME

  • SEUL LE COUTEAU CONNAÎT LE SECRET AU COEUR DE L'IGNAME

Mario Cravo Neto

Mario Cravo Neto

THE ETERNAL NOW

The work of photographer, sculptor and filmmaker Mario Cravo Neto is closely linked with the culture of the region where he was born, Bahia, in the north-east of Brazil. In his photography he not only refers to the attainments of its Yoruba culture, but in his portraits and close-ups he shows the cultural, ethnic and racial mixture of the indigenous population. The powerful photographs are deeply rooted in both regional myths and the religious culture later brought by the Portuguese. In the selection of work shown here the emphasis lies on Cravo Neto's poetic work, in which sensual and spiritual aspects are in constant interplay with each other.

Mario Cravo Neto >>

  • THE ETERNAL NOW

    The work of photographer, sculptor and filmmaker Mario Cravo Neto is closely linked with the culture of the region where he was born, Bahia, in the north-east of Brazil. In his photography he not only refers to the attainments of its Yoruba culture, but in his portraits and close-ups he shows the cultural, ethnic and racial mixture of the indigenous population. The powerful photographs are deeply rooted in both regional myths and the religious culture later brought by the Portuguese. In the selection of work shown here the emphasis lies on Cravo Neto's poetic work, in which sensual and spiritual aspects are in constant interplay with each other.

  • THE ETERNAL NOW

  • THE ETERNAL NOW

  • THE ETERNAL NOW

  • THE ETERNAL NOW

Desiree Dolron

Desiree Dolron

TE DI TODOS MIS SUEÑOS

For years now Desiree Dolron has travelled around the world. Whatever corner of the world she comes back from, she invariably comes home with unusual reportages. This can be seen, for instance, in her remarkable book EXALTATION - IMAGES OF RELIGION AND DEATH, a project on religious rites in which believers have themselves crucified or beat themselves with whips until they bleed. A selection from this gripping photo series was shown last year during the Noorderlicht Festival 'Sense of Space' in the church at Feerwerd. During Noorderlicht 2002 in Leeuwarden Dolron presents the recent documentary reportage TE DI TODOS MIS SUEÑOS (I give you all my dreams, 2002), which she made this year in Cuba. The presentation by Desiree Dolron is sponsored by Dekla and Luna-X.

Desiree Dolron >>

  • TE DI TODOS MIS SUEÑOS

    For years now Desiree Dolron has travelled around the world. Whatever corner of the world she comes back from, she invariably comes home with unusual reportages. This can be seen, for instance, in her remarkable book EXALTATION - IMAGES OF RELIGION AND DEATH, a project on religious rites in which believers have themselves crucified or beat themselves with whips until they bleed. A selection from this gripping photo series was shown last year during the Noorderlicht Festival 'Sense of Space' in the church at Feerwerd. During Noorderlicht 2002 in Leeuwarden Dolron presents the recent documentary reportage TE DI TODOS MIS SUEÑOS (I give you all my dreams, 2002), which she made this year in Cuba.

    The presentation by Desiree Dolron is sponsored by Dekla and Luna-X.

  • TE DI TODOS MIS SUEÑOS

  • TE DI TODOS MIS SUEÑOS

  • TE DI TODOS MIS SUEÑOS

  • TE DI TODOS MIS SUEÑOS

Rodrigo Gómez

Rodrigo Gómez

PATAGONIAN LANDSCAPES

Patagonia lies in the southern cone of South America, in the foothills of the Andes, on the border between Chile and Argentina. With only a disposable panoramic camera Rodrigo Gómez travelled through this almost impassable mountainous terrain full of extremes, that lies wedged between the Atlantic and Pacific Oceans. The absence of any complicated technique gave him the feeling of being a part of this landscape, rather than of having to capture it with a camera. With the aid of his simple apparatus Gómez reveals to us a spectacular vision of this world. While the photographs have a long, indefinite exposure time, in PATAGONIAN LANDSCAPES time seems to stand still.

Rodrigo Gómez >>

  • PATAGONIAN LANDSCAPES

    Patagonia lies in the southern cone of South America, in the foothills of the Andes, on the border between Chile and Argentina. With only a disposable panoramic camera Rodrigo Gómez travelled through this almost impassable mountainous terrain full of extremes, that lies wedged between the Atlantic and Pacific Oceans. The absence of any complicated technique gave him the feeling of being a part of this landscape, rather than of having to capture it with a camera.

    With the aid of his simple apparatus Gómez reveals to us a spectacular vision of this world. While the photographs have a long, indefinite exposure time, in PATAGONIAN LANDSCAPES time seems to stand still.

  • PATAGONIAN LANDSCAPES

  • PATAGONIAN LANDSCAPES

  • PATAGONIAN LANDSCAPES

Cristina García Rodero

Cristina García Rodero

RITUALES EN HAITI

For 20 years Cristina García Rodero was engaged in an anthropological and artistic study of the folk traditions of Spain. It is the most famous project of this photojournalist, recorded in ESPAÑA OCULTA (Hidden Spain, 1989) and other sources. In recent years however she has left the land of her birth and travelled around the world in search of other cultures with their own traditions. Over the last four years García Rodero visited Haiti a number of times. There she investigated the collective rituals of the voodoo cult. In this way she tried to penetrate into the religious experience of the people. The result was a series of expressive portraits and moving scenes, flanked by some engaging documentary observations. RITUALES EN HAITI (2001) was shown for the first time last year at the Venice Biennale. Noorderlicht shows a selection from the series.

Cristina García Rodero >>

  • RITUALES EN HAITI

    For 20 years Cristina García Rodero was engaged in an anthropological and artistic study of the folk traditions of Spain. It is the most famous project of this photojournalist, recorded in ESPAÑA OCULTA (Hidden Spain, 1989) and other sources. In recent years however she has left the land of her birth and travelled around the world in search of other cultures with their own traditions.

    Over the last four years García Rodero visited Haiti a number of times. There she investigated the collective rituals of the voodoo cult. In this way she tried to penetrate into the religious experience of the people. The result was a series of expressive portraits and moving scenes, flanked by some engaging documentary observations. RITUALES EN HAITI (2001) was shown for the first time last year at the Venice Biennale. Noorderlicht shows a selection from the series.

  • RITUALES EN HAITI

  • RITUALES EN HAITI

  • RITUALES EN HAITI

  • RITUALES EN HAITI

Marianne Greber

Marianne Greber

SOBREDOSIS CUBA

In 1997 Marianne Gerber visited Cuba for the first time. The island wouldn't let her go. In Havana she quickly won the confidence of the young people - 'kids of this time' - and stayed in the midst of prostitutes, transvestites and homosexuals. Gerber was allowed to go anywhere, visited everything and photographed all of it, mostly on the street, sometimes in cafes, but also in friends' homes. SOBREDOSIS CUBA is an overdose of energy and intensity, visualising a stormy lifestyle arising from four stimuli: sex, rum, music and cheap cocaine. With her straightforward photographs she gives us an extraordinarily concise image of a high-spirited young generation in the midst of the poverty of socialism-as-it-exists, commercial sex and a lust for life.

Marianne Greber >>

  • SOBREDOSIS CUBA

    In 1997 Marianne Gerber visited Cuba for the first time. The island wouldn't let her go. In Havana she quickly won the confidence of the young people - 'kids of this time' - and stayed in the midst of prostitutes, transvestites and homosexuals. Gerber was allowed to go anywhere, visited everything and photographed all of it, mostly on the street, sometimes in cafes, but also in friends' homes. SOBREDOSIS CUBA is an overdose of energy and intensity, visualising a stormy lifestyle arising from four stimuli: sex, rum, music and cheap cocaine.

    With her straightforward photographs she gives us an extraordinarily concise image of a high-spirited young generation in the midst of the poverty of socialism-as-it-exists, commercial sex and a lust for life.

  • SOBREDOSIS CUBA

  • SOBREDOSIS CUBA

  • SOBREDOSIS CUBA

  • SOBREDOSIS CUBA

Ata Kando

Ata Kando

NO TITLE

In the early 1960s the Hungarian-Dutch photographer Ata Kando travelled several times to South America. There she produced various socially engaged reportages on Indian tribes in the jungles of southern Venezuela. The territory where these Indians lived and hunted was increasingly threatened by the exploitation of the forests. Kando's photographs were shown numerous places in Europe and America. Their exhibition contributed to the international struggle against the repression of the indigenous peoples in South America. Noorderlicht is showing a selection from this series.

Ata Kando >>

  • NO TITLE

    In the early 1960s the Hungarian-Dutch photographer Ata Kando travelled several times to South America. There she produced various socially engaged reportages on Indian tribes in the jungles of southern Venezuela. The territory where these Indians lived and hunted was increasingly threatened by the exploitation of the forests. Kando's photographs were shown numerous places in Europe and America. Their exhibition contributed to the international struggle against the repression of the indigenous peoples in South America. Noorderlicht is showing a selection from this series.

  • NO TITLE

  • NO TITLE

  • NO TITLE

  • NO TITLE

Marcos López

Marcos López

POP LATINO / ARGENTINE POP

In 1993 Marcos López stepped over from black and white to colour photography. It appears to have been a signal step in his oeuvre. He not only left behind the stereotypical social-documentary style of very contrasty images and dramatically accentuated dark background areas, but also broke definitively with his own austere and melancholy attitude to life. Presently López has turned his camera to the popular acquisitions of American culture with which Argentina has been flooded over the past decades. Despite the drastic transition to bright colours, López's social-critical attitude remains. The Pop Art-like photos have an ironic undertone through which the staged scenes and overstated gestures contrast strongly with the present economic crisis in which this South American land finds itself.

Marcos López >>

  • POP LATINO / ARGENTINE POP

    In 1993 Marcos López stepped over from black and white to colour photography. It appears to have been a signal step in his oeuvre. He not only left behind the stereotypical social-documentary style of very contrasty images and dramatically accentuated dark background areas, but also broke definitively with his own austere and melancholy attitude to life.

    Presently López has turned his camera to the popular acquisitions of American culture with which Argentina has been flooded over the past decades. Despite the drastic transition to bright colours, López's social-critical attitude remains. The Pop Art-like photos have an ironic undertone through which the staged scenes and overstated gestures contrast strongly with the present economic crisis in which this South American land finds itself.

  • POP LATINO / ARGENTINE POP

  • POP LATINO / ARGENTINE POP

  • POP LATINO / ARGENTINE POP

  • POP LATINO / ARGENTINE POP

Adriana Beatriz Miranda

Adriana Beatriz Miranda

OBJETOS VIVIENTES / LA SUBVERSION DEL DETALLE / LAS LEYES DE LA OPTICA

The installation by Adriana Miranda shown here contains work from three series. Together they deal with the threat that man forms for nature. Through our activities animal species become extinct, the sea level is rising and an idealised, 'Arcadian' landscape still exists only in our imagination. The dominant position and violent attitude that humans take with respect to the natural environment has irrevocable consequences for mankind itself. In the self-portraits from the series LAS LEYES DE LA OPTICA (Optical laws) only Miranda's shadow is to be seen, spreading over the landscape like a dark shade. In OBJETOS VIVIENTES (Living objects) she photographs animals in the same manner as people would be portrayed: with carefully planned lighting and an eye for details, close-ups and facial expressions.

Adriana Beatriz Miranda >>

  • OBJETOS VIVIENTES / LA SUBVERSION DEL DETALLE / LAS LEYES DE LA OPTICA

    The installation by Adriana Miranda shown here contains work from three series. Together they deal with the threat that man forms for nature. Through our activities animal species become extinct, the sea level is rising and an idealised, 'Arcadian' landscape still exists only in our imagination. The dominant position and violent attitude that humans take with respect to the natural environment has irrevocable consequences for mankind itself.

    In the self-portraits from the series LAS LEYES DE LA OPTICA (Optical laws) only Miranda's shadow is to be seen, spreading over the landscape like a dark shade. In OBJETOS VIVIENTES (Living objects) she photographs animals in the same manner as people would be portrayed: with carefully planned lighting and an eye for details, close-ups and facial expressions.

  • OBJETOS VIVIENTES / LA SUBVERSION DEL DETALLE / LAS LEYES DE LA OPTICA

  • OBJETOS VIVIENTES / LA SUBVERSION DEL DETALLE / LAS LEYES DE LA OPTICA

  • OBJETOS VIVIENTES / LA SUBVERSION DEL DETALLE / LAS LEYES DE LA OPTICA

  • OBJETOS VIVIENTES / LA SUBVERSION DEL DETALLE / LAS LEYES DE LA OPTICA

Eustáquio Neves

Eustáquio Neves

FUTEPOOL

Eustáquio Neves storms the shrines of Brazilian society in his photography. Central to his work is the history of African slaves, from their arrival in Brazil to their incorporation in the society. However, THE Brazilian society does not exist; it is still marked by a great chasm between the rich and poor and the cultural backgrounds of the various population groups. Neves reveals that in social-critical photo works, which often consist of multiple layers, and for which he often manipulates both the negatives and prints. In addition to these strongly symbolic and political photographs, in a number of projects Neves investigates aspects of Brazilian identity more directly. For instance, in the series FUTEPOOL he illuminates the reality behind the almost mythic image that looms up for many when Brazil is spoken of as a football giant. The national sport flourishes primarily in surroundings on the edge of society and in a climate of urban violence.

Eustáquio Neves >>

  • FUTEPOOL

    Eustáquio Neves storms the shrines of Brazilian society in his photography. Central to his work is the history of African slaves, from their arrival in Brazil to their incorporation in the society. However, THE Brazilian society does not exist; it is still marked by a great chasm between the rich and poor and the cultural backgrounds of the various population groups. Neves reveals that in social-critical photo works, which often consist of multiple layers, and for which he often manipulates both the negatives and prints.

    In addition to these strongly symbolic and political photographs, in a number of projects Neves investigates aspects of Brazilian identity more directly. For instance, in the series FUTEPOOL he illuminates the reality behind the almost mythic image that looms up for many when Brazil is spoken of as a football giant. The national sport flourishes primarily in surroundings on the edge of society and in a climate of urban violence.

  • FUTEPOOL

  • FUTEPOOL

  • FUTEPOOL

  • FUTEPOOL

Annette den Ouden

Annette den Ouden

A GLOBAL TOUCH

When Annette den Ouden left in 1990 for her first photographic trip around the world, she travelled light in order to more easily make contact with 'normal' people. These 'normal' people however don't seem to exist. On her many journeys Den Ouden primarily met extraordinary natives, people of integrity who welcomed her warmly in their own small worlds. These natives are generally not aware of the increased pace of modernisation and globalisation that will probably swallow up their age-old culture and identity. Rather than learning from what the colonial past brought about, today ancient peoples are still disappearing as a result of land reclamation, in the name of God or progress, or simply as a result of our curiosity - because an important cause of death among native peoples is disease, for instance the flu, brought in by Westerners. Here Den Ouden shows a selection from her photo series A GLOBAL TOUCH, a fleeting contact made with various population groups in South America and an encounter with several of the pure cultures that the earth is still blessed with.

Annette den Ouden >>

  • A GLOBAL TOUCH

    When Annette den Ouden left in 1990 for her first photographic trip around the world, she travelled light in order to more easily make contact with 'normal' people. These 'normal' people however don't seem to exist. On her many journeys Den Ouden primarily met extraordinary natives, people of integrity who welcomed her warmly in their own small worlds. These natives are generally not aware of the increased pace of modernisation and globalisation that will probably swallow up their age-old culture and identity. Rather than learning from what the colonial past brought about, today ancient peoples are still disappearing as a result of land reclamation, in the name of God or progress, or simply as a result of our curiosity - because an important cause of death among native peoples is disease, for instance the flu, brought in by Westerners.

    Here Den Ouden shows a selection from her photo series A GLOBAL TOUCH, a fleeting contact made with various population groups in South America and an encounter with several of the pure cultures that the earth is still blessed with.

  • A GLOBAL TOUCH

  • A GLOBAL TOUCH

  • A GLOBAL TOUCH

  • A GLOBAL TOUCH

Claudio Pérez

Claudio Pérez

LA HUELLA PERSISTENTE

Last year Claudio Pérez made the series EL MURO DE LA MEMORIA (Wall of remembrance, 2001), with images of political prisoners who disappeared during Pinochet's dictatorial regime. For the project LA HUELLA PERSISTENTE (Stubborn traces) he photographed the torture chambers, as the police left them after the fall of the dictatorial government. The bodies are gone, but countless other vestiges remind one of the dead, missing and tortured. Pérez recorded these traces as they remain behind on the doors, windows, walls and in hidden corners. They are the ineradicable marks of a black page in Chilean history - vestiges that the Chileans indeed still perceptibly carry with them.

Claudio Pérez >>

  • LA HUELLA PERSISTENTE

    Last year Claudio Pérez made the series EL MURO DE LA MEMORIA (Wall of remembrance, 2001), with images of political prisoners who disappeared during Pinochet's dictatorial regime. For the project LA HUELLA PERSISTENTE (Stubborn traces) he photographed the torture chambers, as the police left them after the fall of the dictatorial government. The bodies are gone, but countless other vestiges remind one of the dead, missing and tortured. Pérez recorded these traces as they remain behind on the doors, windows, walls and in hidden corners. They are the ineradicable marks of a black page in Chilean history - vestiges that the Chileans indeed still perceptibly carry with them.

  • LA HUELLA PERSISTENTE

  • LA HUELLA PERSISTENTE

  • LA HUELLA PERSISTENTE

Marcos Prado

Marcos Prado

THE CHARCOAL PEOPLE OF BRAZIL

Marcos Prado met the charcoal workers for the first time in 1991. The overwhelming image of the heavy physical labour with which the fuel for iron and steel factories is produced would not let him go. For seven years Prado travelled from Minas Gerais on the east coast of Brazil to deep in the Amazon jungles in order to trace the story of these workers. Fathers and sons often work and live generation after generation under miserable circumstances. Children have no perspective of another future than following their fathers in the charcoal industry. Prado was able to catch both the hard reality of their existence and their dignity in impressive images and probing portraits. THE CHARCOAL PEOPLE OF BRAZIL (1999) is a severe indictment against slaver, child labour and the destruction of the rain forests of Brazil.

Marcos Prado >>

  • THE CHARCOAL PEOPLE OF BRAZIL

    Marcos Prado met the charcoal workers for the first time in 1991. The overwhelming image of the heavy physical labour with which the fuel for iron and steel factories is produced would not let him go. For seven years Prado travelled from Minas Gerais on the east coast of Brazil to deep in the Amazon jungles in order to trace the story of these workers. Fathers and sons often work and live generation after generation under miserable circumstances. Children have no perspective of another future than following their fathers in the charcoal industry.

    Prado was able to catch both the hard reality of their existence and their dignity in impressive images and probing portraits. THE CHARCOAL PEOPLE OF BRAZIL (1999) is a severe indictment against slaver, child labour and the destruction of the rain forests of Brazil.

  • THE CHARCOAL PEOPLE OF BRAZIL

  • THE CHARCOAL PEOPLE OF BRAZIL

  • THE CHARCOAL PEOPLE OF BRAZIL

  • THE CHARCOAL PEOPLE OF BRAZIL

Guus Rijven

Guus Rijven

THE HOLE IN THE HORIZON

Argentina is in a sense the most distant country of Europe. It perhaps lies in South America, but in terms of disposition it shows great similarities with Western Europe. Guus Rijven observed this when he travelled in that South American country for three months. He wore three hats on this trip - first as a photographer, whose job it was to shoot attractive and informative pictures; second as an artist, who freely interpreted the events under way and on the horizon in black and white, square, middle format; and finally as a writer/journalist Rijven used the subjects of the observer/photographer as the basis for formulating texts, in the manner of the interpreting artist. Three-in-one, they got behind the facade of Argentina. The visions were collected in the book HET GAT IN DE HORIZON (The hole in the horizon, 2002), from which the selection shown comes.

Guus Rijven >>

  • THE HOLE IN THE HORIZON

    Argentina is in a sense the most distant country of Europe. It perhaps lies in South America, but in terms of disposition it shows great similarities with Western Europe. Guus Rijven observed this when he travelled in that South American country for three months. He wore three hats on this trip - first as a photographer, whose job it was to shoot attractive and informative pictures; second as an artist, who freely interpreted the events under way and on the horizon in black and white, square, middle format; and finally as a writer/journalist Rijven used the subjects of the observer/photographer as the basis for formulating texts, in the manner of the interpreting artist. Three-in-one, they got behind the facade of Argentina. The visions were collected in the book HET GAT IN DE HORIZON (The hole in the horizon, 2002), from which the selection shown comes.

  • THE HOLE IN THE HORIZON

  • THE HOLE IN THE HORIZON

  • THE HOLE IN THE HORIZON

  • THE HOLE IN THE HORIZON

Anne Senstad

Anne Senstad

NIGHT IN GUANTANAMO

Last winter Anne Senstad travelled across Cuba from its capital Havana in the northwest to Guantanamo in the poorest, southeastern region, where recently the United States has been holding the Taliban fighters. On her way Senstad investigated the cultural identity of this Caribbean island, where Spanish occupation, the slave trade, revolution, trade embargoes and the present prison camp have left their mark. She found traces of this complex history and contemporary reality in the lives of the Cubans themselves. These are reflected in her socially engaged portraits, cityscapes and close-ups.

Anne Senstad >>

  • NIGHT IN GUANTANAMO

    Last winter Anne Senstad travelled across Cuba from its capital Havana in the northwest to Guantanamo in the poorest, southeastern region, where recently the United States has been holding the Taliban fighters. On her way Senstad investigated the cultural identity of this Caribbean island, where Spanish occupation, the slave trade, revolution, trade embargoes and the present prison camp have left their mark. She found traces of this complex history and contemporary reality in the lives of the Cubans themselves. These are reflected in her socially engaged portraits, cityscapes and close-ups.

  • NIGHT IN GUANTANAMO

  • NIGHT IN GUANTANAMO

  • NIGHT IN GUANTANAMO

  • NIGHT IN GUANTANAMO

Javier Silva Meinel

Javier Silva Meinel

NO TITLE

Since 1990 Javier Silva Meinel has been studying the life of various populations in the Andes. A first visual investigation into the ritual customs in this far-flung South American mountain region resulted in the book EL LIBRO DE LOS ENCANTADOS. At the moment Silva Meinel is working on a follow-up with a series on pilgrimage sites in the uplands around the city of Cuzco. In absurd images full of rage, grief and merriment he investigates the similarities and differences among the mysterious beliefs of the indigenous people.

Javier Silva Meinel >>

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    Since 1990 Javier Silva Meinel has been studying the life of various populations in the Andes. A first visual investigation into the ritual customs in this far-flung South American mountain region resulted in the book EL LIBRO DE LOS ENCANTADOS. At the moment Silva Meinel is working on a follow-up with a series on pilgrimage sites in the uplands around the city of Cuzco. In absurd images full of rage, grief and merriment he investigates the similarities and differences among the mysterious beliefs of the indigenous people.

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  • NO TITLE

Anoek Steketee

Anoek Steketee

ACTORS

Before Anoek Steketee got the chance to travel to Cuba in January 2002, she was occupied primarily with scene photography for various theatre companies. This background was the starting point for her autonomous work in the streets of Havana. Steketee asked passers-by to act out an imaginary film scene on the spot, one in which they themselves played a role. From this came intense portraits on the boundary between reality and fiction.

Anoek Steketee >>

  • ACTORS

    Before Anoek Steketee got the chance to travel to Cuba in January 2002, she was occupied primarily with scene photography for various theatre companies. This background was the starting point for her autonomous work in the streets of Havana. Steketee asked passers-by to act out an imaginary film scene on the spot, one in which they themselves played a role. From this came intense portraits on the boundary between reality and fiction.

  • ACTORS

  • ACTORS

  • ACTORS

  • ACTORS

Bruno Stevens

Bruno Stevens

HAITI, LA JUSTICE OUBLIEE

Despite the democratic revolution in 1995, the situation in Haiti has not improved, and it remains one of the poorest countries in the world. The grinding poverty, expanding slums and the flow of people from the countryside are the primary causes of Haiti's swiftly growing crime problem. The legal system, with underpaid and corrupt judges, is not up to coping with it, and in the meantime the prisons are overflowing.Bruno Stevens photographed the atrocious situation in two Haitian prisons, the main institution, the Penitencier National, where more than 1600 prisoners have to share 900 beds, and Fort National, the only prison for women and children in Haiti, where two-thirds of the prisoners are still awaiting trial. While family members and several aid organisations try to alleviate the worst suffering, reforming the judicial system is no priority for the government.

Bruno Stevens >>

  • HAITI, LA JUSTICE OUBLIEE

    Despite the democratic revolution in 1995, the situation in Haiti has not improved, and it remains one of the poorest countries in the world. The grinding poverty, expanding slums and the flow of people from the countryside are the primary causes of Haiti's swiftly growing crime problem. The legal system, with underpaid and corrupt judges, is not up to coping with it, and in the meantime the prisons are overflowing.

    Bruno Stevens photographed the atrocious situation in two Haitian prisons, the main institution, the Penitencier National, where more than 1600 prisoners have to share 900 beds, and Fort National, the only prison for women and children in Haiti, where two-thirds of the prisoners are still awaiting trial. While family members and several aid organisations try to alleviate the worst suffering, reforming the judicial system is no priority for the government.

  • HAITI, LA JUSTICE OUBLIEE

  • HAITI, LA JUSTICE OUBLIEE

  • HAITI, LA JUSTICE OUBLIEE

  • HAITI, LA JUSTICE OUBLIEE

Mundos Creados III

Deeez

Deeez

NUNCA MAS / CANTO A UNA NENA NADADORA

Since 1997 the photographers Jan Kees Helms and Nørb Mommersteeg have worked together under the name Deeez. For the series NUNCA MAS (Never again) the pair photographed Argentine women with a photograph of their disappeared father in their hands. These images alternate with photographs of the sea: during the Videla regime (1976-1981) between 7000 and 9000 people met their death by being dumped into the sea. The series was made after Dutch Crown Prince Willem Alexander and Princess Maxima (daughter of Jorge Zorreguieta, the agriculture minister in the Videla government) declared that her father had known of only three missing persons. CANTO A UNA NENA NADADORA (Song for a swimming girl) is a series of a young girl playing in the sea. One photo includes a letter from her disappeared father. In it he encourages the girl to go on with her swimming lessons and writes that he will play with her in the sea when he is released.

Deeez >>

  • NUNCA MAS / CANTO A UNA NENA NADADORA

    Since 1997 the photographers Jan Kees Helms and Nørb Mommersteeg have worked together under the name Deeez. For the series NUNCA MAS (Never again) the pair photographed Argentine women with a photograph of their disappeared father in their hands. These images alternate with photographs of the sea: during the Videla regime (1976-1981) between 7000 and 9000 people met their death by being dumped into the sea. The series was made after Dutch Crown Prince Willem Alexander and Princess Maxima (daughter of Jorge Zorreguieta, the agriculture minister in the Videla government) declared that her father had known of only three missing persons.

    CANTO A UNA NENA NADADORA (Song for a swimming girl) is a series of a young girl playing in the sea. One photo includes a letter from her disappeared father. In it he encourages the girl to go on with her swimming lessons and writes that he will play with her in the sea when he is released.

  • NUNCA MAS / CANTO A UNA NENA NADADORA

  • NUNCA MAS / CANTO A UNA NENA NADADORA

  • NUNCA MAS / CANTO A UNA NENA NADADORA

  • NUNCA MAS / CANTO A UNA NENA NADADORA

Miguel Rio Branco

Miguel Rio Branco

NO TITLE

In 1980 a fire in the studio of Miguel Rio Branco destroyed a great deal of his archive. At the moment the Brazilian multimedia artist is busy reconstructing this twenty year old collection of negatives and prints. By way of the still existing prints he is trying to recover his earlier work again. In addition to photographing, Rio Branco is a visual artist and maker of films and videos. Generally he exhibits his work in installations in which the various media are combined with one another. As photographer he focuses primarily on minority groups in his homeland, such as gypsies and Indians. Rio Branco feels a connection with these groups on the edge of society; as the son of a diplomat he grew up outside Brazil and feels himself likewise an outsider. Miguel Rio Branco works regularly for the famous Magnum photo agency. He has been awarded countless prizes for his work.

Miguel Rio Branco >>

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    In 1980 a fire in the studio of Miguel Rio Branco destroyed a great deal of his archive. At the moment the Brazilian multimedia artist is busy reconstructing this twenty year old collection of negatives and prints. By way of the still existing prints he is trying to recover his earlier work again.

    In addition to photographing, Rio Branco is a visual artist and maker of films and videos. Generally he exhibits his work in installations in which the various media are combined with one another. As photographer he focuses primarily on minority groups in his homeland, such as gypsies and Indians. Rio Branco feels a connection with these groups on the edge of society; as the son of a diplomat he grew up outside Brazil and feels himself likewise an outsider. Miguel Rio Branco works regularly for the famous Magnum photo agency. He has been awarded countless prizes for his work.

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  • NO TITLE

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  • NO TITLE

Wietze Landman

Wietze Landman

NO TITLE

In 2000 Wietze Landman travelled through Surinam. There, together with the journalist Robert van de Woestijne, he made a number of reportages on the residents of Paramaribo and the interior of Surinam. Among other results was a series of black and white photographs of the primitive life in the interior and the urbane society in Paramaribo, a city with a strange mixture of South American and Dutch influences. The indigenous peoples apparently lead a quiet life and are at one with nature. The women leave early every morning in the korjaal (dugout canoe) for the vegetable garden, where they cultivate food. In the meantime, the young boys kicking a ball around on a clearing in the rain forest dream of a football career.

Wietze Landman >>

  • NO TITLE

    In 2000 Wietze Landman travelled through Surinam. There, together with the journalist Robert van de Woestijne, he made a number of reportages on the residents of Paramaribo and the interior of Surinam. Among other results was a series of black and white photographs of the primitive life in the interior and the urbane society in Paramaribo, a city with a strange mixture of South American and Dutch influences.

    The indigenous peoples apparently lead a quiet life and are at one with nature. The women leave early every morning in the korjaal (dugout canoe) for the vegetable garden, where they cultivate food. In the meantime, the young boys kicking a ball around on a clearing in the rain forest dream of a football career.

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  • NO TITLE

  • NO TITLE

  • NO TITLE

Hannes Wallrafen

Hannes Wallrafen

OF TIME AND THE TROPICS

The photographs of Hannes Wallrafen are like stories: images that he encounters in the world around him or that arise in is own imagination. Wallrafen prefers to work on thematic projects with a clear thread running through them. Previously he published 'Een Dagreis naar Macondo' (A day trip to Macondo), with photographs inspired by the stories of Gabriel García Márquez. For OF TIME AND THE TROPICS (2002) he went to Honduras in search of the memories of the people. Wallrafen was there confronted with a collective absence of cultural consciousness: books and historical photographic materials are hardly available, historical buildings have made way for new houses, municipal archives went up in smoke and old customs have been forgotten. With this photo project Wallrafen tried to bring this collective past to the surface in images which will also be recognisable for the Hondurans themselves.

Hannes Wallrafen >>

  • OF TIME AND THE TROPICS

    The photographs of Hannes Wallrafen are like stories: images that he encounters in the world around him or that arise in is own imagination. Wallrafen prefers to work on thematic projects with a clear thread running through them. Previously he published 'Een Dagreis naar Macondo' (A day trip to Macondo), with photographs inspired by the stories of Gabriel García Márquez. For OF TIME AND THE TROPICS (2002) he went to Honduras in search of the memories of the people.

    Wallrafen was there confronted with a collective absence of cultural consciousness: books and historical photographic materials are hardly available, historical buildings have made way for new houses, municipal archives went up in smoke and old customs have been forgotten. With this photo project Wallrafen tried to bring this collective past to the surface in images which will also be recognisable for the Hondurans themselves.

  • OF TIME AND THE TROPICS

  • OF TIME AND THE TROPICS

  • OF TIME AND THE TROPICS

  • OF TIME AND THE TROPICS

Luis Weinstein

Luis Weinstein

NO TITLE

The panoramic photographs of Luis Weinstein do not offer the usual wide survey of landscapes or urban situations. Instead, they are reflections on our manner of looking. Rather than surveying a place in one gaze, we collect a series of impressions and experiences, out of which we ultimately construct our image. Weinstein approaches this concept through a technique which he terms 'superposition'. In it he only partially advances the film in his camera between shots. In this way, overlaps occur on the negative. Through the time between shots and the various camera placements in the ultra-wide angle photographs, Weinstein combines aspects of panoramic photography and film. The end result is a narrative image in which details seem to loom up out of memory.

Luis Weinstein >>

  • NO TITLE

    The panoramic photographs of Luis Weinstein do not offer the usual wide survey of landscapes or urban situations. Instead, they are reflections on our manner of looking. Rather than surveying a place in one gaze, we collect a series of impressions and experiences, out of which we ultimately construct our image.

    Weinstein approaches this concept through a technique which he terms 'superposition'. In it he only partially advances the film in his camera between shots. In this way, overlaps occur on the negative. Through the time between shots and the various camera placements in the ultra-wide angle photographs, Weinstein combines aspects of panoramic photography and film. The end result is a narrative image in which details seem to loom up out of memory.

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Lola Alvarez Bravo

Lola Alvarez Bravo

NO TITLE

Lola Alvarez Bravo was the wife of Manuel Alvarez Bravo, one of the most famous and influential photographers Mexico ever produced. She began photographing in the 1930s and influences of photographers such as Edward Weston and Tina Modotti are clearly visible in her early work. Lola Alvarez Bravo quickly became the favourite photographer of the Mexican cultural elite, most in demand for portraits. Her oeuvre reveals surrealistic and fantastic features, and she photographed many everyday subjects and street scenes. In the mid-1990s Alvarez Bravo was honoured in Mexico with a large retrospective exhibition.

Lola Alvarez Bravo >>

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    Lola Alvarez Bravo was the wife of Manuel Alvarez Bravo, one of the most famous and influential photographers Mexico ever produced. She began photographing in the 1930s and influences of photographers such as Edward Weston and Tina Modotti are clearly visible in her early work.

    Lola Alvarez Bravo quickly became the favourite photographer of the Mexican cultural elite, most in demand for portraits. Her oeuvre reveals surrealistic and fantastic features, and she photographed many everyday subjects and street scenes. In the mid-1990s Alvarez Bravo was honoured in Mexico with a large retrospective exhibition.

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  • NO TITLE

  • NO TITLE

  • NO TITLE

Laura Cohen

Laura Cohen

NO TITLE

Mexico City: one of the largest cities in the world. So many people, so many faces. So many moods, so many thoughts. Laura Cohen lives and works in this megapolis. She knows a few fellow-residents well, but of many of her compatriots she knows nothing, let alone what is going on in their heads. Yet all these people leave behind an impression on Cohen, and she can identify with what she feels of others. She tries to give form to these feelings in her work. It involves abstract concepts such as chaos, destiny and neurosis, which largely define her own life and that of her compatriots. Cohen's modified photography enlarges on the series 'Translated Realities', which in 1999 was included in the Noorderlicht exhibition 'Wonderland' in Groningen. Then she manipulated her still lifes and staged studio photographs in triptychs. Now the images regularly run through in diptychs of sheets of photographic paper overlapping one another.

Laura Cohen >>

  • NO TITLE

    Mexico City: one of the largest cities in the world. So many people, so many faces. So many moods, so many thoughts. Laura Cohen lives and works in this megapolis. She knows a few fellow-residents well, but of many of her compatriots she knows nothing, let alone what is going on in their heads. Yet all these people leave behind an impression on Cohen, and she can identify with what she feels of others. She tries to give form to these feelings in her work. It involves abstract concepts such as chaos, destiny and neurosis, which largely define her own life and that of her compatriots.

    Cohen's modified photography enlarges on the series 'Translated Realities', which in 1999 was included in the Noorderlicht exhibition 'Wonderland' in Groningen. Then she manipulated her still lifes and staged studio photographs in triptychs. Now the images regularly run through in diptychs of sheets of photographic paper overlapping one another.

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Flor Garduño

Flor Garduño

NO TITLE

Flor Garduño is one of the best known contemporary female photographers in Mexico. Her photographs of indigenous cultures and rituals in Latin America are exhibited around the world. Garduño's black and white photography is collected in various books, including 'Testigos del Tiempo' (Witnesses to time, 1992). In it she presents a probing portrait of the daily life of Indians in Mexico, Guatemala, Ecuador and Peru. It is a visual homage to the tenacity and vitality of these pre-colonial Indian cultures and their traditions.

Flor Garduño >>

  • NO TITLE

    Flor Garduño is one of the best known contemporary female photographers in Mexico. Her photographs of indigenous cultures and rituals in Latin America are exhibited around the world. Garduño's black and white photography is collected in various books, including 'Testigos del Tiempo' (Witnesses to time, 1992). In it she presents a probing portrait of the daily life of Indians in Mexico, Guatemala, Ecuador and Peru. It is a visual homage to the tenacity and vitality of these pre-colonial Indian cultures and their traditions.

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  • NO TITLE

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Maya Goded

Maya Goded

SEXO SERVIDORAS

Maya Goded (Mexico, b. 1970) was pregnant when she began the series SEXO SERVIDORAS (Sexual servants). She was searching for a manner in which to give shape to her doubts and anxieties, arising from this radical physical and emotional change. She wanted to better understand what secrets lay within the female body. This series of portraits of prostitutes in the La Merced neighbourhood of Mexico City is more than a documentary reportage. Goded herself says of the project, 'When you talk about prostitution, you are talking about women and inequality, about the body, sex and sin, about motherhood, youth and aging, about religion, love and rejection.' While Goded sought an answer to her own questions in Sexo Servidoras, she entered deeply into the lives and world of the prostitutes, and at the same time holds up a mirror before us. Goded received a grant from the W. Eugene Smith Fund to carry on this project.

Maya Goded >>

  • SEXO SERVIDORAS

    Maya Goded (Mexico, b. 1970) was pregnant when she began the series SEXO SERVIDORAS (Sexual servants). She was searching for a manner in which to give shape to her doubts and anxieties, arising from this radical physical and emotional change. She wanted to better understand what secrets lay within the female body.

    This series of portraits of prostitutes in the La Merced neighbourhood of Mexico City is more than a documentary reportage. Goded herself says of the project, 'When you talk about prostitution, you are talking about women and inequality, about the body, sex and sin, about motherhood, youth and aging, about religion, love and rejection.' While Goded sought an answer to her own questions in Sexo Servidoras, she entered deeply into the lives and world of the prostitutes, and at the same time holds up a mirror before us. Goded received a grant from the W. Eugene Smith Fund to carry on this project.

  • SEXO SERVIDORAS

  • SEXO SERVIDORAS

  • SEXO SERVIDORAS

  • SEXO SERVIDORAS

Graciela Iturbide

Graciela Iturbide

NO TITLE

Graciela Iturbide studied cinema in Mexico City, but ended up in a not uninteresting part-time job in photography, as assistant to Manuel Alvarez Bravo. Moreover, this solo profession gave her complete freedom to travel around Mexico and discover her own country. Iturbide has no interest in photographic styles or systematic projects. She photographs intuitively and sees the camera primarily as an excuse to come into contact with people, their lives and their celebrations. Working in this spontaneous way, she records the everyday life of Mexicans, in which the time of the Aztecs is always still present in the background.

Graciela Iturbide >>

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    Graciela Iturbide studied cinema in Mexico City, but ended up in a not uninteresting part-time job in photography, as assistant to Manuel Alvarez Bravo. Moreover, this solo profession gave her complete freedom to travel around Mexico and discover her own country.

    Iturbide has no interest in photographic styles or systematic projects. She photographs intuitively and sees the camera primarily as an excuse to come into contact with people, their lives and their celebrations. Working in this spontaneous way, she records the everyday life of Mexicans, in which the time of the Aztecs is always still present in the background.

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  • NO TITLE

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  • NO TITLE

GKf

Arthur Blonk

Arthur Blonk

Arthur Blonk >>

Maarten Brinkgreve

Maarten Brinkgreve

Maarten Brinkgreve >>

Gon Buurman

Gon Buurman

Gon Buurman >>

Mariëtte Carstens

Mariëtte Carstens

Mariëtte Carstens >>

Ger Dekkers

Ger Dekkers

Ger Dekkers >>

Hanneke Fransen

Hanneke Fransen

Hanneke Fransen >>

Wil van Iersel

Wil van Iersel

Wil van Iersel >>

Cor Jaring

Cor Jaring

Cor Jaring >>

Ellen Kok

Ellen Kok

Ellen Kok >>

Margit Lammers

Margit Lammers

Margit Lammers >>

Dana Marshall

Dana Marshall

Dana Marshall >>

Deen van Meer

Deen van Meer

Deen van Meer >>

Rob Philip

Rob Philip

Rob Philip >>

Jocelyne Moreau

Jocelyne Moreau

Jocelyne Moreau >>

Laura Samsom-Rous

Laura Samsom-Rous

Laura Samsom-Rous >>

Bernice Siewe

Bernice Siewe

Bernice Siewe >>

Han Singels

Han Singels

Han Singels >>

Andrea Stultiens

Andrea Stultiens

Andrea Stultiens >>

Annemarie Trovato

Annemarie Trovato

Annemarie Trovato >>

Wilma van de Hel

Wilma van de Hel

Wilma van de Hel >>

Dinie Wikkerink

Dinie Wikkerink

Dinie Wikkerink >>