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The “Latin Fire” exhibition consists of works from the collection of Anne Gamazo Abelló, displayed little-known facets of the frame General of Latin American photography and displays common features that stem from an attitude in which euphoria and melodrama are part of everyday life.
Although no one can speak of a unique identity “and other different identities and many eyes” , according to María García Yelo, director of PhotoEspaña The exhibition opens in Madrid’s Cibeles CentroCentro shows that there are common features throughout the continent.
The sample consists of 180 images, many of them unpublished, from the collection of Ana Gamazo Abelló, considered one of the most important collections of Latin American photography in Europe.
The aim of the commissioners Alexis Fabry and Mary Wills, the latter said during the presentation was “illustrate an attitude, a behavior or Latin American psychology. ” In his opinion there are features that cross the continent and one of them is the metaphor of fire.
A fiery cultural character that is also evident when it comes to make a family relationship, the dancing, the night life or social and political commitments.
The fifty-two artists present in the sample, each of them differently, style and technique, reflect the euphoria and melodrama that are part of daily life portrayed eight countries, “each in its ability to simultaneously achieve feelings as different as mood excess or excess pain.”
According to the curators, “with more composure to try to show military, divas, bodyguards, metalheads or gunmen, life everyday is told in stories of cinema lyrics that are always loaded with spices and spicy “.
The exhibition ambitious inadvertently be encyclopedic, it has two large chapters.
The first one, “Fire” brings together scenes of the Cuban revolution, with images of Raul Corrales and Korda, the guerrillas of Venezuela in the 60 portrayed by Rodrigo Moya, daily life under the dictatorship in 80 in Chile, by Hector Lopez, Buenos Aires, Adriana and Eduardo Longoni Lestido;. and in Lima in the 90s, under the threat of Shining Path, by Jorge Deustua
Also stresses the “Missing” series, Maya Goded held in 2005 in Ciudad Juarez (Mexico) and the series in which Milagros Torres photographed the remains of things used by people kidnapped in Colombia. Juan Manuel Echevarría also speaks in his images of violence without portray itself in the midst of these photographs of the dead Che Guevara.
The chapter “With the Devil in the Flesh” title of one song by Cuban singer La Lupe, reflects on how “end joining party sites, radical political issues to be carried away by the fire of music and dance are lost.”
The images reveal “the carefree character of Latin Americans seeking to assert its countercultural character or simply let off steam on his experiences are of life and death”. Criminal dancing on the same track as police, soldiers and revolutionary, according to the commissioner.
The selection, where you can see photographs of the series “Prostitutes” of Fernel Franco, shows intimate looks through portraits that seek to capture subjective worlds, eccentric personalities, which inhabit canteens, dingy bars, prisons and private meeting spaces
“Nights blowout” of Armando Cristeto in Mexico.; Juan ambiguous teenagers Travnik; “Women prisoners” Adriana Lestido; “internal” Carlos Somonte; Garciela transvestites of Iturbide; and Rodrigo Moyo bathers.
As the wedding portraits of the upper class of Tijuana Jose Luis Venegas or “Wedding in Coyoacan” series, Peter Meyer, illustrate a chapter devoted to the most casual but where violence is still present. Madrid, June 2 (EFE). | Mila Trenas
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